NOVEMBER / DECEMBER 2001 £2.95 AANCIENTNCIENT EGYPTEGYPT

THE HISTORY, PEOPLE AND CULTURE OF THE NILE VALLEY The Amarna Heresy: First part of conference report...

Sex, serpents and subterfuge: Cleopatra in the movies

Our Nine Measures of Magic series concludes Heka at the Louvre

NEWS, REVIEWS AND INTERVIEWS PLUS AND OUR SPECIAL TRAVEL SECTION Ancient Egypt Vol 2 Issue 3 AN UNFORGETTABLE TRIP WINTO EGYPT WITH AWT Subscribe

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May/June 2000 July/Aug 2000 Sept/Oct 2000 Nov/Dec 2000 Jan/Feb 2001 April/May 2001 June/July 2001 Aug/Sept 2001 Jan/Feb 2002 Vol 1 Issue 1 Vol 1 Issue 2 Vol 1 Issue 3 Vol 1 Issue 4 Vol 1 Issue 5 Vol 1 Issue 6 Vol 2 Issue 1 Vol 2 Issue 2 Vol 2 Issue 4 Cracking Codes: Undersea Cities King Djoser Science v. The Naming of Queen of Egypt: Nine Measures Neb Re: Flying over Egypt The Rossetta Egyptology on Valley of the Archaeology Kings Amelia Edwards of Magic A Ramesside The Saladin Stone the internet Kings Lesson of Egyptian Mapping The Egyptian Offi cial Exhibition The Mummy Ramesses the Plumbing the Bahareya Museum, Berlin Ancient Egypt Underworld Egyptian Music:: The Amarna Detectives Great Secrets of the The Temple of ‘Heaven and Hell’ Treasures of the Luxor Museum Doug Irvine Heresy (Part 2) The Lost Tomb Finding Pharaoh Sphinx Horus Pharaohs

Mar/Apr 2002 May/June 2002 July/August Sept/Oct 2002 Nov/Dec 2002 Jan/Feb 2003 Mar/Apr 2003 May/June 2003 July/Aug 2003 Vol 2 Issue 5 Vol 2 Issue 6 2002 Vol 3 Issue 2 Vol 3 Issue 3 Vol 3 Issue 4 Vol 3 Issue 5 Vol 3 Issue 6 Vol 4 Issue 1 Comic Relief: Hatshepshut: Vol 3 Issue 1 Birds in ritual Monstrous Scientifi c Napoleon: Nefertiti ‘Egypt Reborn’ Humour in Egypt’s female Birds & Beasts of Ballooning above Images Investigators: the return of Charming the at the Brooklyn Ancient Egypt Pharaoh Egypt Luxor Coptic Cairo: the the ‘Savants ‘ in France snake and the Museum of Art Ancient craft skills Hanging Church Egypt Egyptian icon? Der El Medina scorpion Nefertiti: Sun The Pharaoh Hatshepsut’s Part 1 Restored The camel’s tale Hound Red Chapel Egypt’s Emerald Queen Mountain

Oct/Nov 2003 Dec/Jan 2003/4 Feb/Mar 2004 April/May 2004 June/July 2004 Aug/Sept 2004 Oct/Nov 2004 Dec/Jan 2004/5 Vol 4 Issue 2 Vol 4 Issue 3 Vol 4 Issue 4 Vol 4 Issue 5 Vol 4 Issue 6 Vol 5 Issue 1 Vol 5 Issue 2 Vol 5 Issue 3 Miu! The Egyptian Exploring Khufu’s Vamping Venus Venus and the Vamp The God Seth What happened Obelisks in Exile How old is the Cat Story Pyramid Egptianising Art (Pt. 2) Crime and at Meidum? The Canopic Shrine of Sphinx at Giza? Detroit Institute Desert Images The power of Boats on the Nile Punishment Mummy: Tutankhamun Growing old disgrace- The Gilf Kebir & Gilf fully at Deir el Medina of Arts Egyptian burial porphyry The Oriental Howard Carter and The Inside Story Uweinat The ‘Destruction of customs The Forty Days Road Institute, Chicago the Goldsmith A New Home for the Petrie Museum Mankind’

Feb/Mar 2005 Apr/May 2005 June/July 2005 Aug/Sept 2005 Oct/Nov 2005 Dec/Jan 2005/6 Feb/Mar 2006 Vol 5 Issue 4 Vol 5 Issue 5 Vol 5 Issue 6 Vol 6 Issue 1 Vol 6 Issue 2 Vol 6 Issue 3 Vol 6 Issue 4 The Egyptian Royal Dogs in ancient Egypt Tutankhamun’s Queen Meryetamun Rameses II at Ancient Egyptian Granite or Quarzite? Family ‘The Riddle of the mummy: at Akhmim Gerf Hussian and Sphinxes Rock types in Discovering the lost Pyramids’ by the CT scan results Dressing Nefertiti the Ramesseum The Temple of Ptah Egyptian sculpting half of a Papyrus Zahi Hawass The Island of Replica tomb of The Royal Mummy Ancient Egyptian A soul of Nekhen The tomb of Yuya and Luxor Museum Elephantine Thutmose III in A Victorian view of Medicine Ancient Egypt in Thuya Ancient Egyptian Edinburgh Egypt A Lion of Madrid Houses Amenhotep III AANCIENTNCIENT Page 42: A recent exhibition at the Louvre focussed on Heka and its practitioners. Artefacts EGYPT from the Museum's own exten- sive collection were on view. CONTENCONTEN

FEATURES

Competition ...... 3 Page 14: The second part of our holiday competition brought to you by AE and AWT. The Amarna Heresy con- Photostory ...... 12 ference set Stunning new photography of the sites of ancient Egypt. some old ideas alongside new Cover feature: The Amarna Heresy ...... 14 research; there's The first part of a report on the recent UK conference. no doubt that Akhenaten retains Vamp, Victim or Vulture? Cleopatra on Film ...... 22 his appeal. Egypt has long provided a rich source of inspiration for the arts; and no Egyptian more so than Cleopatra, as Sean McLachlan reports.

Nine Measures of Magic ...... 28 The ancient Egyptians used magical power by word and deed to overcome their enemies, explains Dr Panagiotis Kousoulis in the last part of our in-depth series.

Who Sings to his Ka every day: Discovering the Music of Ancient Egypt ...... 36 Doug Irivine and Miriam Bibby investigate Egyptian musical sources.

TRAVEL

Heka at the Louvre...... 42 A recent exhibition complements our 'Nine Measures' series, as Cathie Bryan explains.

Leiden has a new view of Egyptology ...... 48 Leiden's world class Egyptology collection has a new display; and who better to describe it than Curator Maartin J Raven.

Page 48: Taking centre stage of the Museum of Leiden's new display is this magnificent statue of Hatshepsut, reunited from pieces belonging to Leiden and the Metropolitan Museum, New York.

4 ANCIENT EGYPTNOVEMBER/DECEMBER 2001 Page 22: Claudette Colbert, one of the many faces of con- temporary Cleopatra, joins the ranks of silver screen goddesses in a look at how the 'Serpent of the Nile' has been TTSS interpreted by the Hollywood myth-makers.

REGULARS

Editor's Column ...... 7

Ancient Egypt News ...... 8 News and Views from the world of Egyptology.

Review Panel ...... 52 Those Martians finally put in an appearance. Page 36: Bastet (right) and musicians (below) Society Contacts ...... 55 represent the divine and Events Diary ...... 56 human sides Events for the winter season. of Ancient Egyptian Netfishing ...... 58 music. Fruity pharaohs? Don't ask.

DEPARTMENTS

Contents...... 4

Who's who at AE ...... 6

Subscriptions...... 19

Back Issues...... 45

Coming next issue...... 59

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 5 ABOUT...

NOVEMBER / DECEMBER 2001 £2.95 ANCIENT EDITOR EGYPT THE HISTORY, PEOPLE AND CULTURE OF THE NILE VALLEY Miriam Bibby BA, M Phil, Cert. Egy. The Amarna Miriam was educated at Nottingham and Manchester Heresy: Universities. As a freelance writer, her work has been First part of conference report... published in various periodicals in the UK and USA. She combined her interest in horses and Egyptology to research her M Phil topic, 'The Horse in Ancient Egypt'. She is a former editor of 'Hoofprint' and is a marker for the Manchester University Distance Sex, serpents and subterfuge: Learning Certificate. Cleopatra in the movies

Our Nine Measures of Magic series concludes Heka at the Louvre

NEWS, REVIEWS AND INTERVIEWS PLUS AND OUR SPECIAL TRAVEL SECTION Ancient Egypt Vol 2 Issue 3 AN UNFORGETTABLE TRIP CONSULTANT EDITOR WIN TO EGYPT WITH AWT

THIS ISSUE’S Professor Rosalie David BA, PhD, FRSA COVER PICTURE Professor David is Director of the Mummification Research Centre at Manchester University, Keeper of The Amarna period provokes great Egyptology at the Manchester Museum, Director of interest in students of Egyptology the University of Manchester Egyptology Certificate and a recent conference outlined and Distance Learning Courses and the first woman some new - and old - ideas on the professor of Egyptology in the UK. She is the author reign of Akhenaten and other royals of numerous books and articles on mummies and of the period. The first part of the the religious practices of the ancient Egyptians, a presenter of TV and radio programmes conference report can be found in and an extremely popular lecturer all over the world. this issue of Ancient Egypt maga- zine. Was Akhenaten a heretic? Opinion is still strongly divided; but THIS MONTH’S CONTRIBUTORS ARE: exciting new investigations in the Valley of the Kings may provide the possibility to shed further light on Cathie Bryan Amarna. Cathie Bryan holds degrees in Anthropology from Hunter College and in Egyptian Archaeology from the Institute of Archaeology, UCL, London, as well as a Business Masters from New York University. She has designed computer databases for Egyptian art collections, worked on various projects at the Louvre, Paris (including the exhibition and publication Egypt in Paris and offers Egyptian-themed walking tours, also in Paris. Sean McLachlan

Sean McLachlan is an archaeology graduate and journalist based in Tucson, Arizona, USA, reporting on science, archaeology and political issues. He has excavated at sites in the Middle East and Missouri. His other passion is for early cinema and its interpretation of historical themes.

Panagiotis Kousoulis

Dr Kousoulis gained his doctorate from the School of Archaeology, Classics and Oriental Studies of the University of Liverpool in 1999. He is now a Research Fellow in the Department of Mediterranean Studies of the University of the Aegean (Rhodes, Greece). With thanks to: Doug Irvine, Dr Maarten Raven, Angela Dennett and Bob Partridge.

6 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 EDITOR’S COLUMN

FROM THE EDITOR... ANCIENT

ith Amarna in mind as a As I thought of this, while EGYPT result of the August examining the original photographic Amarna Heresy record of the heads of the canopic www.ancientegyptmagazine.com Conference, it was likely vessels, an idea began to emerge. We W NOV/DEC 2001 VOL. 2 ISSUE 3 that thought would turn to some of the have been conditioned into thinking intriguing issues raised by the period, by earlier research that the heads rep- and in particular the mysteries of the resent a queen or princess of the peri- Editor: occupant of tomb KV55. od, be it Tiye or Kiya or another as Miriam Bibby 70 High Street The battered funerary equip- yet unidentified, which has added to Langholm ment in the tomb carries references to the mysteries of the KV55. Why do Dumfriesshire Queen Tiye, mother of Akhenaten. the heads have to represent a female DG13 0JH The body in the ravaged at all? coffin has been identified To a modern eye, Tel: 013873 81712 variously as male or the heads do appear com- Email: [email protected] female over the years. The “ e have been pletely feminine in Consultant Editor: canopic vessels were orig- W appearance, but there are Professor Rosalie David inally made for Kiya, wife numerous examples of of Akhenaten, whose his- conditioned into ancient Egyptian art, from Published by: Empire Publications tory is subject to much the Amarna period as well 1 Newton Street, speculation, and of whom thinking by earlier as other times, that Manchester M1 1HW we have learned much of deceive in the same way. Tel: 0161 273 7007 the little we do know research that the The eyes are outlined with Fax: 0161 273 5007 since the middle of the kohl (both men and Advertisement Manager: twentieth century. heads represent a women wore this) and the Mike Massey The heads of the Nubian style wig gives the Tel: 0161 928 2997 vessels, however, were queen or impression of long hair Fax: 0161 941 4372 not, it was pointed out by that we tend to associate two speakers at the confer- more with women than Subscriptions: ence (David Rohl and Dr princess of men. Kate Schofield Aidan Dodson) the origi- The Nubian style Production and Design: nals: they do not fit. They the period...” wig tends to be associated Clive Grace were presumed, shortly more with Amarna 07929 127827 after the discovery of the women than men. Webmaster: tomb, to represent Queen Tiye; later However, this is not exclusively the Stuart Fish they came to be identified as Kiya. case; and in one of the images that is The body itself has been the most frequently identified as Printed by: subject of a recent investigation by Smenkhare (assuming his existence) Visual Colour (UK) Ltd, experts Dr Nasri Iskander and Joyce his figure is shown wearing a similar, 6 Gregson Road, South Reddish, Filer, of the British Museum. Even to although shorter, wig. Stockport, this non-expert eye, the photographs Take another look at the SK5 7SS of the skull that accompanied the images of the heads of the canopic description of the investigation in the vessels from tomb KV55, and remove Ancient Egypt is published Bulletin of the Egypt Exploration the modern prejudices. Take another bi-monthly by Empire Publications. The contents of Society were strikingly those of a look too, at images of Tutankhamun. this magazine are fully robust male individual with an excel- What do you really see? protected by copyright and lent set of teeth. Separated from the nothing may be reprinted or body, it has been suggested that the reproduced without permission skull is that of a different individual. of the editor, Miriam Bibby. The publishers are not liable for However, communication with Joyce statements made and opinions Filer suggests that both body and expressed in this publication. skull, whether of two different people Miriam Bibby, or not, are the mortal remains of a Editor. © Miriam Bibby 2001 young man. ISSN : 1470 9990

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 7 AANCIENTNCIENT EGYPTEGYPTNEWSNEWS

NEWS AND VIEWS FROM THE WORLD OF EGYPTOLOGY

British Museum hosts major new Agatha Christie exhibition

To accompany the Agatha throughout the evening. Christie and Archaeology In addition, Agatha Christie on Exhibition, the British Museum is Film will present a series of British hosting a series of events which classics with a special Saturday begins with the Ancient Near screening of Lawrence of Arabia East Week from Monday 5th until (10 November) to conclude - Saturday 10th November 2001. Ancient Near East Week. All films The season also includes pre- are free and will be screened in sentations on the latest archaeo- the Clore Education Centre from logical discoveries in the Delta 14.30. Murder on the Orient and Upper Egypt covering sites Express (8 November), Evil over four millennia. The four Under the Sun (9 November), Thursday lunchtime lectures are The Mirror Crack’d (20 free of charge and start with an December) and, of course, Death overview of the major discoveries on the Nile (21 December) will in Egyptian archaeology over the conclude the season to put every- last two centuries. The lectures one in the mood for Christmas Donald Wiseman, Agatha Christie, Max Mallowan and Neville include The rediscovery of with a final juicy mystery. Chittick (left to right ) at Nimrud, 1950. Picture © John Mallowan Ancient Egypt presented by For details contact the British George Hart (22 November Museum on 020 7323 8000. A major exhibition hosted by the assistant cleaning and repairing 13.15); Senneferi’s tomb at British Museum this autumn will objects. Thebes by Nigel Strudwick – (29 celebrate the connection of AE readers will find much to November 13.15); Balamun, site crime writer Agatha Christie to interest them in this exhibition, of ancient Behdet by Jeffrey archaeology. Agatha Christie the idea of Dr Charlotte Spencer – (6 December 13.15); and Archaeology: Mystery in Trümpler who is Curator of and Hierakonpolis with Renée Mesopotamia will be of interest Classical Archaeology at the Friedman – (13 December 13.15). to those who have watched or Ruhrland Museum in Essen, There will also be a film festival read Death on the Nile as well Germany. The items on display which includes a British Museum as her lesser known works set will include costumes from the Friends Evening Opening of in Middle Eastern contexts and film Death on the Nile as well Death on the Nile (4 December with an archaeological element as the Royal Standard of Ur 2001, 18.00 - 21.00). Entry is £5 such as Appointment with and other key archaeological to non members. That evening, Death and Murder in pieces. The display also promis- there will also be a lecture by Mesopotamia. es a reconstructed sleeping Henrietta McCall: Agatha Christie: Agatha Christie was married compartment from an Orient Mystery in Mesopotamia and The to the archaeologist Max Express train of the early 20th Egyptian Sculpture Gallery, the Book jacket by Robin Mallowan and spent time work- Century; and visitors could Mummy galleries and the Macartney for the first edition ing on sites at Ninevah, Ur, and always include a trip to see The Parthenon Sculpture gallery will of Death on the Nile, the other locations in north eastern Mousetrap if they really don’t all be open. Other events and Crime Club, Collins, 1937 Syria where she worked as an know ‘whodunnit’ yet. workshops will take place © Matthew Pritchard

8 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 NEWS

New Egypt tours by Egypt Colossal task awaits Society of Bristol German preservation team Also from the Egypt Society of supporting group has formed an Bristol comes news of an organi- international charitable founda- sation dedicated to helping to tion to help raise funds for the preserve the ‘Colossi of preservation of the area. The Memnon’ (actually Amenhotep contact details are: The III) and the surrounding area. A Association of the Friends of the team from the German Colossi of Memnon, Étude de Archaeological Institute has Mâitre Nicolas Gagnebin, 2, rue been working at the mortuary Saint-Laurent, Geneva, temple of Amenhotep III and a Switzerland.

Amenemhet I and Sesostris I are just two of the pyramids of Lisht you can visit on a new Tour.

There’s news of a tour to Egypt dates are 7-20 December 2002 organised by the Egypt Society and more information can be of Bristol that offers an excellent obtained by ringing 0117-942 opportunity to view some of the 1957 after 7.00 pm. lesser known sites of Egypt as well as the best known locations. It’s two weeks long but can be taken as two separate weeks if preferred. The first week con- One of the two giant statues which are all that remain of the centrates on pyramid sites Temple of Amenhotep III. including Lisht and Abu Rowash in addition to the expected Giza and Saqqara, Dahshur and so Burrell autumn and winter on; but the second week takes season events in a selection of Delta sites beginning in Alexandria before There's an action packed winter year olds. Belly dancing tutor Ann progressing to Rashid (Rosetta), season at the Burrell Collection in McLaughlin will be demonstrating Sais, and finally Tanis. The tour Glasgow to accompany the and teaching dance on Saturday is led by Dr Aidan Dodson and extended Digging for Dreams 24 November, and on Saturday the society is able to offer a very exhibition (now until January 10 November there will be a per- reasonable price for those who A wooden statue excavated 2002). On Sunday 11 and 25 formance of Sands of Time, a make bookings through it. The from the pyramids at Lisht. November, and 9 December musical produced by GNNG 2001, Egypt will be brought to life Productions by arrangement with with art and storytelling sessions Scottish Opera. Drawing is fea- What’s going on in Cairo? for 5 to 11 year olds and 3 to 7 tured on 20 October, with the par- ticipants contributing to Visitors to Cairo will find a com- produce large pieces of prehensive listing of what’s on in Egyptian art. the city by visiting the pages of For details of these www.ahram.org.eg/weekly, the and other events, con- web site of Al Ahram newspaper tact and make book- which produces a version for ings by calling the English speakers. The listing Burrell on 0141 287 includes galleries, cinema 2550. screening and festivals and is a good way of checking these out Keep up to date with news at Glasgow’s Burrell in advance of a visit. www.ahram.org.eg/weekly Museum.

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 9 NEWS A message from Late news on Airlines Dr Mamdouh El-Beltagui and flights

September 2001, and express AE endorses Dr El-Beltagui's The latest news on airlines as our grief and sincere condo- message of grief and condo- we went to press was that a lences to the friendly American lence, and his comments on number of carriers stated they people as well as to the family peace, security and hospitality, would have to cancel their members and friends of the inno- remembering that many nations flights and ground their planes cent victims. have directly suffered as a con- due to lack of insurance cover 'Egypt, as a peace-making sequence of these recent events. in the wake of the terrorist nation, denounces all acts of vio- Additional information provided attack on the USA. UK airlines lence and terrorism. And as far by the Egyptian government out- were meeting with the Transport as the tourism industry is con- lines increased security in the Secretary Stephen Byers and cerned, we have created an wake of the attacks and the can- insurance bosses to see what extremely secure destination, cellation of the performance of cover could be provided. There where all visitors enjoy a peace- Aida scheduled for October 'as a were also meetings going on in As we went to press, AE ful environment. Terrorism repre- gesture of solidarity with the the US and the European received the following message sents a serious impediment to American nation.' We are also Union; the US government was from Egypt's Minister of the flourishing of the tourism sec- advised that special help and offering an airline rescue pack- Tourism, Dr Mamdouh El- tor, which is delicately linked to assistance was provided to the age of $5 billion to try to over- Beltagui after the recent tragic the notions of peace, security 1,661 tourists from the USA in come the situation. events in the USA: and hospitality. Egypt on the day of the attack. For further information, check 'We are extremely shocked 'I can assure you that our AE has also received a num- the latest on the BBC news over the disastrous terrorist country will continue to provide ber of messages from readers website at: attack which struck the United a safe and secure tourist desti- expressing their grief, shock and http://news.bbc.co.uk/hi/eng- States of America on 11th of nation.' sympathy. lish/business/

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10 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 NEWS ‘Eternal Egypt’ exhibition tours world

The Brooklyn Museum of granite lions from Amenhotep The Palace of the Art is to host, from 23 III's temple at Soleb in Nubia. Legion of Honor, November 2001 until 24 This piece was restored under San Francisco February 2002, an exhibi- the rule of King Tutankhamun. (10 August until tion of over 140 master- There are also items from the 3 November works of ancient Egyptian Amarna period including a 2002), the art from the British sculptor's tool for creating Minneapolis Museum. Eternal Egypt will images of Amarna royalty, this Institute of Art display items dating from the being a moulded plaster face. (22 December 1st Dynasty until Roman The exhibition's guest curator 2002 until 16 period Egypt, including is Dr Edna Russman, Curator of March 2003), the colossal statuary. One of the the Department of Egyptian, Field Museum, oldest objects in the exhibi- Classical and Ancient Middle Chicago (26 April tion is also one of the tiniest: Eastern Art at the Brooklyn until 10 August a small ivory plaque deposited Museum of Art. Dr Russman 2003) and the in the tomb of the first Dynasty also edited the accompanying Walters Art king, Den. The ancient catalogue which includes contri- Museum, Baltimore Egyptians skill in working in var- butions by T.G.H. James of the (21 September ious media including wood will British Museum. 2003 until 4 be celebrated. For further details of the January 2004). The largest complete item in exhibition contact the Brooklyn the exhibition is one of the Museum on www.brookly- Also on tour is magnificent and famous nart.org. The other venues for this 18th dynasty Eternal Egypt's tour include the ushabti of King Head of Amenophis III. dating from 1350 B.C., is just one of the Nelson-Atkins Museum, Kansas Ahmose I -- the earliest known artefacts at the touring Eternal Egypt Exhibition. City (12 April until 2 July 2002), ushabti of a king. Obelisks are no drag with ‘ancient kite’

Far Left: The 6,900 pound obelisk model being lifted, proving at least that the Ancient Egyptians could have moved the obelisks (and indeed other objects) in this way.

Left: Video footage taken by one of the team using a small- er obelisk and a smaller kite.

Researchers from the American hour) according to a report in obelisk. During the course of the The conclusion was that science institute, Caltech, came National Geographic Magazine. work, the team discovered that a even without a kite, a drag up with an interesting new The only technical items metal ankh, 'long assumed to be chute could have lifted the Egyptology-linked project earlier needed were a kite, a pulley merely (merely? - Ed) a religious obelisk. However, the team this year. Mory Gharib, an aero- system and a support frame, symbol - makes a very good wondered if there would be suf- nautics professor and his team, and the kite succeeded in get- carabiner for controlling a kite ficient wind to lift such a thing in used a kite to raise a 6,900 ting the kite flyer, Eric May, into line' reported National Egypt. Hmmm. pound (3132.6kg) obelisk to an the air as well. It took about 25 Geographic; but, of course, 'no- Further details can be found upright position in the desert at seconds to raise the obelisk on one has found any evidence that on a web site at http:// Palmdale. The obelisk is 15 foot the second attempt. Apparently the ancient Egyptians moved news.nationalgeographic.com (3m) high and was raised in 22 the team is planning a second stones or any other objects with /news/2001/06/0628_calte- mile an hour winds (35.4km per project with an even bigger kites and pulleys.' chobelisk.html

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 11 3&$03%&% '03 &5&3/*5:

          

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     SPECIAL REPORT The AMARNat the Louvre

There is nothing so inclined he Amarna Heresy, this year’s joint Davis concluded on the ‘heresy’ issue conference offered by ISIS (the that as the Aten is seen in tombs from earlier to bring out strong feelings Institute for the Study of periods, Akhenaten was not a heretic for intro- TInterdisciplinary Sciences), and SES, ducing the Aten, but rather for the closure of in the follower of Sussex Egyptology Society, saw a twofold state temples, the banning of traditional gods increase in delegates and a new venue at the and the removal of the name of Amun from Egyptology than that brief University of Reading. Despite having a strong monuments; with Nefertiti as co-regent. theme, the conference was somehow not as but peculiar period when integrated as last year, with distinct differences The issue of a co-regency between the presentations on mainstream The first of the lectures offered by Dr Aidan Akhenaten ruled Egypt Egyptology and those giving more personal Dodson focussed on another co-regency issue – from his new city of points of view. that of Akhenaten (as Amenophis IV) and Amenophis III. His own endearingly ‘Vicar of Akhetaten. Viewed until Akhenaten the Heretic? Bray’ opinion on the subject has now veered (in John Davis opened on Saturday morning with his own words) towards the ‘qualified view of recently as a heretical and the rueful comment that he was aware that this a co-regency’, citing recent work by Ray was the ‘death slot’ as warm-up man for the fol- Johnson in support of this. disparate outgrowth from lowing lecturers; nonetheless, his well-received The divinisation of both Amenhotep presentation gave a very necessary outline of III and Queen Tiye is evident in temples at Egyptian theology and the manifold ways in which Akhenaten had Sedeinga, where Tiye appears as both Hathor been viewed by generations of Egyptologists and Tefnut, significant deities in the Egyptian political ideology and (and ‘Egyptologists’, it should be said, since pantheon and Soleb, where Amenhotep III the term is frequently used rather generously). appears as a deity in his own right. despite the disreputable air He made his own views clear: Around the 30th regnal year of the ‘Akhenaten was not astounding, but different’, king, argued Dr Dodson, images of Amenophis that hangs about the whole a theme expanded upon later in the lecture. III make him appear more youthful than he Akhenaten, he continued, has received actually was, and the child-like imagery is part proceedings, informed stu- praise (or censure) as the instigator of of the manifestation of the king as solar deity, dents are drawn to a love- monotheism; Velikovsky proposed comparison the ‘dazzling sun’; perhaps the Aten itself? with Oedipus; other commentators have com- Further, images of the king with pendulous hate relationship with mended him as a visionary, a mystic and a poet. belly and breasts are precursors of imagery at Davis continued that Gardiner held that ‘he Amarna. Graffito from the mortuary temple at Amarna as with no other wears a fanatical look’; while Pendlebury Meidum, continued Dr Dodson, states that the described Akhenaten as ‘a religious maniac’. A ‘king established his son in his inheritance’. time or place in the long gallery of the best-known kings of Egypt was The royal jubilee may have included the eleva- displayed, with the theme that in such compa- tion of Amenhotep IV into what he described history of Egypt. ny, was Akhenaten truly outstanding? vividly as a ‘royal divine corporation’, in which

14 ANCIENT EGYPT NOVEMBER /DECEMBER 2001 SPECIAL REPORT NA Heresy

each of the royal personages plays a particular divine role: Amun, Hathor, Tefnut and Shu.

The king as divinity Combined images in one lintel of Akhenaten, Nefertiti and four daughters, and on the other side, Amunhotep III, Tiye, and Bekhetaten sug- gest continuity between the reigns and the ‘pro- motion’ of this divine corporation. Examples from year 3-4 of the reign of Amenhotep IV show Amenhotep III worshipping his own divine form; and an image of the two kings “ may show Amenhotep Akhenaten IV worshipping his father’s ‘divine was not a heretic essence’. Further for introducing the archaeological evi- dence of the regency Aten, but rather might come from Thebes, where a figure for the closure of Amenhotep IV is shown undertaking acts of worship; there are of state cartouches of Amenhotep IV, and fur- temples...” ther back, figures of Amenhotep III and Tiye; Tiye is clearly shown holding the hand of Amenhotep III. ‘Mixing of the dead and living through this sort of physical contact does not occur,’ said Dr Dodson. Finally the case of the Amarna corre- spondence was cited, this including letters to Amenhotep III. ‘Why would this old corre-

NOVEMBER /DECEMBER 2001 ANCIENT EGYPT 15 SPECIAL REPORT

damaged and showing the ravages of time, shows the royal family, Akhenaten, Nefertiti and their daughters, adoring the Aten. Sarcophagus fragments from Queen Tiye’s burial have also been found in the tomb. After the Amarna period, said Professor Martin, both bodies would have been removed to a cache at Thebes. In one unfinished room within the tomb, he found sherds including one with the regnal date of year 17.

Evocation of the Aten The scenes within the royal tomb have suffered ravages but records exist to show the royal family worshipping the Aten, ‘a visual evoca- tion of the hymn to the Aten’ stated Professor Martin. ‘As the sun rises, birds and animals come to life again.’ The scenes include for- eigners, Africans Asiatics and others, all brought together in worship of the sun’s disc. Above: No stranger to contro- spondence have been taken to Akhetaten?’ Within these scenes are images versy, David Rohl indulges in argued Dr Dodson, concluding that the busi- depicting the death of a royal princess in child- some lively debate ness of state was carried out from Amarna, and birth. The king and queen mourn the death that Amenhotep III was indeed there. while courtiers and nurses are in attendance. The Vizier is there too, in the scenes, once with The Royal Tomb flabellum held over the head of the child. Professor Geoffrey Martin then took the audi- While the whole suggests a gathering to cele- ence to the royal necropolis at Amarna, situat- brate a birth, of course in reality the circum- ed in a valley leading from the Great Wadi. His stances have changed to bereavement: ‘The detailed presentation reflected his years of King and Queen, god and goddess, are here work at the site, mainly on the Royal Tomb shown as distraught human beings,’ said constructed for Akhenaten. Professor Martin, suggesting that at least two The massive sarcophagus plinth of the Amarna princesses died in childbirth. occupies a major part of the burial chamber. Of While the tomb does not include tra- the sarcophagus itself, only fragments remain, ditional scenes of the afterlife, funerary equip- Below: An increased number of but sufficient, Prof. Martin pointed out, to pro- ment of earlier periods was certainly still in delegates, a new venue and a vide measurements that show it fitted the use, and one scene shows the equipment of popular subject produced a plinth. Princess Meketaten on one small wall. memorable conference. Imagery within the tomb, although Canopic chest fragments and ushabti figures from the period are known – over 250 still exist, some in almost complete form. Wooden boat fragments were also found within the tomb along with large diorite bowl fragments dating from earlier reigns as far back as Unas and Khafre, suggesting both continuity of some belief and links with earlier monarchs.

Horemheb’s career Professor Martin’s second lecture was a guid- ed tour of the originally intended burial site of General, later King, Horemheb. This is a tomb with which Professor Martin is very familiar; it lies in a ‘street’ of notable officials of the late New Kingdom, and it was suggested that Memphis was always the administrative capi- tal of Egypt, while the burials in the south were those of rulers. As would be expected, the tomb con- tains many references to Horemheb’s martial

16 ANCIENT EGYPT NOVEMBER /DECEMBER 2001 SPECIAL REPORT career and there are faint echoes of the Amarna Harmonious planning period in one reference to Horemhead as Talatats – reused blocks of ‘Beloved of the Aten’. Professor Martin point- stone from Amarna – have ed out scenes of prisoners of war being been found at various sites ‘processed’; the images include violent depic- around Egypt, and from tions of captive Nubians being punished by these, computer-generat- Egyptians; there is a possible image of a cap- ed reconstructions have tive Hittite couple; and at a scene of a royal been made. Lucia Gahlin durbar of Tutankhamun and Ankhesenamun, it suggested that the pro- is Horemheb who is the receptionist of all for- portions of the Great eign individuals. Temple, once projected, When Horemheb took the throne, he reflect the limits of the had a further tomb built in the Valley of the city; the North Riverside Kings, but ensured this secondary royal resi- Palace appears to mirror dence of the afterlife by having the royal the Great Palace, and uraeus added to it. The tomb was the resting also the King’s House to place of Horemheb’s second wife, Mutnodjmet the south, giving a who died in the 13th year of her husband’s meticulous example of reign, and within the tomb were found the bro- city planning, designed ken skeletal remains of a woman and a foetus; to produce a harmo- the woman was aged about 40 and had appar- nious whole in which ently died in childbirth. buildings reflect each other and the site. On to Akhetaten While it is Lucia Gahlin’s lecture took the audience to the often hard to identify heart of the subject with its overview of the site the precise function of of Amarna, Akhetaten itself. This secure site particular buildings, on a plain of 15 sq. miles, with the city to the Princess Meritaten is west is bounded on the south and east by the definitely associated natural boundary provided by the desert cliffs; with the North Palace, and within those cliffs to the east, of course, is said Lucia Gahlin. the often-commented upon natural opening, While there has been ‘representing perfectly the hieroglyph for removal of much mate- Akhetaten’ as the sun’s disk appeared in it. rial since the 1930’s, Excavations have been carried out remaining limestone there for over 100 years. Since 1977, work has lustration benches and been carried out by Barrie Kemp under EES other items suggest luxu- funding. rious bathing facilities Research carried out there includes for the royal family. experimental archaeology. Photographic From Akhetaten, Above: Central to the religious records, including aerial photogra- we gain knowledge worship of the Amarna Royal phy, have also enhanced knowl- about the family was the manifestation of edge of Akhetaten, and the the sun's disk, the Aten. Here overwhelming impression is Akhenaten, Nefertiti and their of a vast foundation, daughter raise offerings to the with the city on the east Aten, the beneficence of which bank of the Nile, and to the royal family is made clear cultivation to provide its in the rays reaching down to food supply taking place them. on the west bank. The population could have been huge; esti- mates suggest 45,000 peo- ple.

Left: Akenaten and Nefertiti steal a kiss on the great royal chariot of Electrum.

NOVEMBER /DECEMBER 2001 ANCIENT EGYPT 17 SPECIAL REPORT

daily life of all classes of Egyptian society at next burials of Amarna royalty would be near- this time; in areas, the housing is mixed, partic- by, and that the contentious KV55 burial did ularly in the north and central area where exca- indicate the former presence of Tiye. If their vations have taken place. There is evidence of grave goods were given up for re-use in large estates, with the walled garden areas and Tutankhamun’s burial, where were the bodies? water features that appear often in Egyptian They must have been in Thebes, concluded Dr wall paintings, but the basic design for all hous- Reeves, concluding that more remains of ing was similar, and simply constructed on a Amarna period royalty must be lying in the larger or smaller scale depend- Valley of the Kings, or are ing on the status of the family. known remains still waiting to be identified. Status housing “ Most readers of AE The workmen’s village, situat- The most exciting will be aware that in 1998 Dr ed 1-2 km outside the city, con- Reeves, along with Field sisted of 66 identical houses development, however, Director Geoffrey Martin, plus one larger dwelling. gained the concession to exca- Associated animal pens have vate in a triangle of land Above: Akhenaten: Egypt's is the discovery, also been found. Chapels for between KV56 and KV9. It False Prophet by Nicholas private worship are also associ- was in this area that Carter had Reeves, Director of the Amarna ated with the housing, suggest- some 4-5m below begun his search for Royal Tombs Project, is the lat- ing that household deities did, Tutankhamun. Certain anom- est work to focus on the most despite popular belief, continue the ground surface, alies were known from the contentious and discussed at Amarna. ground, and the KV56 plans, member of the Amarna Royal The massive Great of items of like those of Tutankhamun’s Family. Temple, or House of the Aten, tomb, seemed to avoid the reflects the other end of the central area of the site. Publisher: Thames and Hudson Amarna date...” building scale, with its bound- Excavations have Price:£18.95 ary extending an enormous already discovered work- ISBN: 0500051062 750m by 230m. This massive construction, of men’s shelters of the date of Ramesses III – VI, which next to nothing remains, provided the and 1000 items have been discovered, includ- focal point of worship by the royal family in ing gold jewellery. the city of Akhetaten. New discoveries Amarna Royal Tombs Project The most exciting development, however, is The delegates were then treated to two addi- the discovery, some 4-5m below the ground tional items; a presentation by Dr Nicholas surface, of items of Amarna date, including Reeves, Director of the Amarna Royal Tombs sherds. Dr Reeves presented a slide of a large Below: Dr Nicholas Reeves. Project, and further details of the recent dis- slab of limestone with an image, in charcoal, of Amarna Royal Tombs Project covery of the tomb of the High Priest of the what he described as a pot-bellied official in Director and Joint Field Aten at Saqqara. Dr Reeves argued that the ‘typical Amarna dress, with arms raised in ado- Director. (1998, 1999, 2000) reuse of burial equipment in the tomb of ration.’ This, in undisturbed layers in the Valley Tutankhamun was far greater than previously of the Kings was clear evidence of ‘Amarna Below Right: Professor realised. Tutankhamun’s death coincided with Activity’. Geoffrey T. Martin. Amarna the removal of Amarna royalty from Akhetaten There was also a fragment of a Royal Tombs Project (Joint to the Valley of the Kings, thus making this canopic jar similar to material from KV55, with Field Director, 1998, 1999, 2000) equipment available to Ay. grinding suggesting removal of inappropriate Dr Reeves went on to argue that the texts, as with KV55. We were left at this point to await further updates later in the year on this extremely exciting – and important – project. AE

The concluding piece from the conference will be in the next issue of Ancient Egypt magazine, including a report from Professor Geoffrey Martin on the discovery of the tomb of a sig- nificant official – the Priest of the Aten – found recently at Saqqara.

18 ANCIENT EGYPT NOVEMBER /DECEMBER 2001 TRA VEL FEATU URE RE COVER FEAT Reading the future TRAVEL URE FEATURE WANTCOVER FEAT MORE? of WANT MORE?The new library of he buildin g looks lik Alexandria will hold mou e an enor- s spaceship that has crash- landed just missing the sea. Its within it a sloping ro vast collection T of measures 160 in diam metres eter and tilts into a sh pool, w allow wading Interesting times for of records in the form of hich butts against a gian Alexandria sphere rising o t black ut of the grou fa nd. The rear books and manuscripts çade makes up for the tional front faça lack of a tradi- de with a massive grey in addition to the latest granite wall. Chiselled into the hun stone a dreds of different letters in re archiving methods such guages from various lan- all over the world, sym ing the origins of read bolis- Re ing and writing. Alex as CD-roms. It will also andria’s new library lies rig on the sea-front prom ht Neb enad e with re on the main northern gate of the site –alsoassive hold memories of a rooms for 2,000 users c ading es of more pri- hi – which, with m ascading over e know the nam t first noted by Habac ar the seven terraced levels. T Ancien ers, makes cle plann he library has Did the centralised bureau- vate individuals from stone-clad mudbrick tow varied and schism ed for a collectio any civilisation f the fort’s military atic books, 50,000 m n of eight million Egypt than from very serious nature o as the , anuscripts, pam ajor new discovery w Above: After Neb-Re's death phlets and before classical Greece and defences. A m f a past, in which it has other documents, as w cracy of ancient Egypt, with ome from stelae, lintels containing his names and ell as 50,00 W excavation over a number of seasons o Roms. 0 CD- Rome. Many of these names c s, each 16 verturned and reused onumental objects with an ud-brick storeroom titles were o statues or tombs – m ery series of m nged in ner to suggest a been everything from the The aim of the 2 rpose. By contrast, v metres wide, and arra in such a man 00-Million-Dollar its intensive record-keeping - metres long by 3 ple. as he seen construction is to essentially private pu uld make a substan f the tem deliberate removal. W revive the glorious non-royal Egyptians co a row immediately to the north o gazines tate cen- intellectual centre of the ry of the ancient “Biblio histo- few n major public in one of these ma as too powerful by the s owledged impact o The discovery with Alexandrina”, wh theca and kingly focus, offer little tial, ackn e and responsibil- ottery storage vessels tre far away in the Nile Valley? ich burned to the grou ileg f a series of complete p in 48 BC. H nd buildings; this was a priv o around the Eastern style, with luxury ancient world to the ere in the w . ‘Illicit’ representations of pri- f types from His life library of anc orld-renowned ity of the king s of a variety o jar and accessories, might ient history the m opportunity for individual als on the walls of royal building ean (such as stirrup bathroom edgeable m ost knowl- vate individu rare Mediterran ed Zawiyet playground of wealthy inds of that tim nmut at Deir el-Bahri – are give a clue to his authority. and prod e researched – such as Sene Canaanite amphorae) confirm important trad- uced their greatest w ‘empire-building’ even on a ent. el-Rakham’s role as an them E orks, among enough to excite comm alley and Umm ge. Europeans. The city still uclid’s treatise o ile V ronze A “Biblio n geometry. Th However, beyond the N ing post of the Late B theca Alexandrina” h e ssibilities existed for an more recent development has been 75 oused arou very minor scale? Perhaps Delta rather more po A exists on a number of 0,000 documents, includin nd ake his mark. In ast corner of the Pharaonic date g papyri o enterprising official to m the discovery, in the south-e ade up of and a w f e can see monuments ajor domestic area m G hole corpus Nubia, for instance, w fortress, of a m munal ovens. levels, as reek texts, inc of the lifestyle of Neb Re, etau for Ramesses II, all houses and com Claudia Haj luding the work of erected by the Viceroy S ut, a series of sm Aristotle. featuring Setau himself. B e assume, is where the garrison of the but prominently ight give This, w Ali explains. complete with luxury items fortress actually lived, and excavation in this Amodern wonder? although a posting to the coloniesore opportunities m next area is a major planned activity for the Alexandria’s n an Egyptian official rather m e, there were, ew library is curre otion than at hom few seasons. Work in this area will, we hope,as most prestigiou ntly the such as bath and pedestal for self-prom n what life w s Egyptian p give us detailed information o Toshka, the great green roject after obviously, limits to how far one inantcould position go in ew Kingdom ing of an like for an ordinary soldier in a N vast desert, south area in the toilet, casts light on an effectively usurping the predom ine with of Egypt. T . fortress, and may help us determ seen as a he library is of the king act size of the garrison project that will c The most distant posting known to us greater precision the ex rediscovering the c ontribute to pire was the ity. Plans ex enterprising official of the which, on present evidence, we believe to be ate the Pharo ist to recre- in Egypt’s New Kingdom em akham, on the s lighthouse, o awiyet Umm el-R en. Wonde ne of the Sev fortress of Z over 500 m of the man in rs of the Ancient W en Dr west of But what do we know by an orld, destroye Ramesside period, as Mediterranean coast 300 km earthquake in the 14th c d ere a fortress-town of 20,000 ajor outpost of Egyptian near the curren entury AD, Alexandria. H . thick, guard- charge of this m f the t site of F nd with walls 5 m excavations o ort Qait Bey. explains. sq.m. in area a F Crete power? Since 1994 the Throughout th Steven Snape eEATURE trade routes from have revealed in several parts mandant of e old town painters ed Egypt’s maritim ibyan Liverpool team ing Left: Neb-Re, 'Com are diligently creatin lent local L onuments nam m el- g a new im and kept a close eye on trucu of the site a number of m painting over the fa age, by Susanna xcavated since 1994 the fort' of Zuwiyet Um r with çades in tones Photography by ads. This fortress, e Neb-Re, who is titled ‘Overseer of Foreign on Egypt's frontie Left: A But most of it is c of ochre. nom ool, seems to have Rakham ncient Alexandria, osmetic in the c niversity of Liverp Lands’ and ‘Overseer of Troops’; in effect, ep “Potem olour by the U Libya, had access to the best icentre of philoso kin Pink”. It o mandant of the Fort. arkable phy, blo nly takes a single Thomas been founded in, and abandoned during or Com e across this craftsmen as this rem comes vividly t w with the hand on amesses II. The first place we cam Right: A sketch of harps, pipes and flutes, as o life in this the old faç shortly after the reign of R ays of two thirds life size statue image from break through the fresh ades to am has re- estone doorw depicted on an ancient tomb near the pyramids. the catalogue for plaster an So far the Liverpool te character was on the lim F the Br aged brickw d the mall, well-built, but he lintels of all nine shows. EATURE itish Museum's ork of old residences and vil- excavated and planned a s t dug the nine magazines. T esses II, Cleopatra of las. The buildin hich was firs e cartouche of Ram Egypt exhibition. g material is rotten sadly uninscribed temple, w doorways bear th agazine, 38 Picture cou away by the ravag , eaten the central m 13 8 rtesy of the BMP, © es of the sea air an up by the Egyptian archaeologist Labib but the lintel from British neglect of d d the Whoe have also worked Sings to ING Museum 2001 ecades. Alexandria’s arc 0’s. W I Habachi in the 195 FIISH tural heritage has been left to decay.hitec- NT EGYPT NET ANCIEN ... IE N IE T 2001 ANC NT EGYPT J E WEB ... EPTEMBER JUNE/JULY LD WIIDE UGUST/S LY 2001 E WORLD A ES THE JU XPLORE JUNE/JULY 2 TEMBER 2001 GYPT EX Y 2001 ANCIE GUST/SEP ENT EGY CIENT EGYPT EGYPT AU ANCIIEN YPT his NCIENT 12 A every day: 39 f the ational Chairman o Keith Grenville, N - rom his a has drawn atten D warm welcome f iety of South Afric ISCOVERI Below: Banquet scene: fragment of wall painting from the tomb of apy extends a Egyptian Soc b site on NG THE M ain to AE readers iety’s own we Ka USIC OF Nebamun, Thebes, Egypt. 18th Dynasty, around 1350 BC. A fine autiful new dom n to the soc u can Ka be f tio ere yo h ANCIENT E ds at the Forum o om/g/gr/grenvill/ w GYPT example of a Theban tomb painting. Musicians and dancers entertain and some new frien http://users.iafrica.c ummies n Internet based formation about m guests, dressed in festive clothing. The musicians are perhaps the n. The Forum is a ome interesting in ty. Amu both pro- find s events of the socie most striking in the image being represented in its membership frica as well as the Hety which includes hilip in South A or instance, has soci oderator P Museum, f 6 at m nce ISSUES ONLY h cie frontally rather than in profile. gyptologists and w Durban Natural S its stun- fessional E s who love all lemaic date with (British Museum) s as “lay people utiful coffin of Pto Gould describe oderators, a bea here are four m rated mummy. In last issu s Ancient Egypt.” T oth ningly deco recall the trav- e’s Ancient thing the States, and b eaders of AE will hile we don’t know how UK and one in Regular r College three in the nd post n items from Eton E ancient Egyptian membership a exhibition based o f gypt, Douglas I o join in. elling Durban mummy, o rvine FEATU al is required t jor Myers; the music sounded, RE approv collected by Ma collected ely group with a of Akhmim, was des there’s a set of It’s a very liv riest Peten-Amun uth cribed how his inte ‘W osting; the the p s way into the So basic sources that inform us about d p d it r- lot of activity an rs and finally foun h mes- by Mye ancient music in Egypt,’ explained as buzzing wit ction. est in the m site w nt African colle using non- usic of musician and composer Doug fter the rece een investigated sages a It has b n made Irvine. ‘Students of Egyptology ay School on nd a reconstructio an Bloomsbury D ctive techniques a is cient cultures d mids and destru qualification for th evel- will be familiar with the many rep- e subject of Pyra ulsebrook, whose F th by Dr Bill A . in Forensic EATURE resentations of musicians and Vamp,Victim... he holds a Ph.D op Power. nd to none: f ed. In this detaile oversy is is seco esulting display o d musical instruments from tomb While contr onstruction. The r ids Facial Rec n looks truly paintings, reliefs, graffiti and sculp- ided (and pyram nd reconstructio article h not avo coffin, mummy a e goes on to ture. We depend quite a bit on these e strong reac- . tend to provok g on the web site d hankful- stunnin t offer you rest an Vivien Leigh on stage with Laurence Olivier in visual sources to determine who s in people), it is t for two sites tha explain that w tion ts Now demic mate- £17.70 hile Egypt played what instruments, how the onsiders to be i king at more aca who the Forum c uperation after loo .com Antony and Cleopatra (1951) instruments were grouped and held, ly made clear ies towards rec nd at www.abkaria Picture copyright Mander & Mitchenson. h or Vulture?me pages of the so if one’s fancy l irst is to be fou as no or Vulture?The ho e, and . The f es on t yielded a s target audienc place to rial ition to the pag et of the performance contexts and how instru- wall Egyptian ids’ this isn’t the k, a fairly new add West Corn s built the pyram gy and is, I thin is “all about ments changed over time.’ ey real- ‘alien a local Egyptolo uction says that it written m Society... yes th er, if there isn’t he Net. The introd r relat- usic theory or go. Howev , or you prefer t in, travelling to, o The vivid, lively images of ancient reveal o ripple! group near you cting people living ot ly d atmos- conne re seems to be a l Egyptian musicians, often women, are tantalis- to us the details of their work. ongoing group ay to Egypt.” The notation from VÄxÉÑtàÜt ÉÇ the Y|ÄÅo- ed by any w nd antiquity, ing in their silence. They represent some of the However, thanks to Egypt’s t the Net can pr roups, forums a phere tha n offer, including g most relaxed and intimate scenes from ancient preserving climate, some of ook at the o he emphasis there vide, take a l xchanges, and so t are other sourc Egyptian art. Textual sources yield further their instruments have survived at sales e gical. If es rum’s URL er than Egyptolo Fo m/ is social rath information in the form of titles, particularly in in good shape and from these, roups.yahoo.co e it would be good of informa http://g readers visit the sit tion at our funerary contexts, of musicians and families of the modern investigator can here you will s. When August a group/Amun w e some impression musicians. learn much about construc- nd Louis nly a few months after the first ation. In to hav g for d d further inform ally, after surfin isposal. Doug I fin gs Fin g rvine ‘One could labour over the interpreta- tion techniques without hav- Lumière screening, Thomas Edison The scene changes to Antony’s camp. There access the postin ay on the ripplin Lumière sh order to hours, just drift aw tion of an ancient musician’s specific action in ing to apply destructive owed the very showed the earliest historical pic- she quickly bedazzles the Roman leader with a f course, need st Cornwall and Miria you will, o The 1912 ‘Cleopatra’me page was of pro-We m Bibby a tomb painting or relief, but a literate scholar methods, an opportunity ture, ‘The Execution of Mary, few coy glances and poses, much to the chagrin ho gyp- O membershipduced. at a transition time forn filmmakers.Society (www.e Queen of Scots.’ Historical subjects were one Egyptia could simply read the caption over the subject’s which does not extend to first motion of Antony’s wife and Octavian. er group offering k). It’s investigate a pictures to of film’s original genres. AnothImprovements in technologygy.btin teandrnet.c othe.u ncient head: “Oh well, it says right here that her name other climates such as The most elaborate scene comes when its mem- tolo y forum facidecreasinglities to cost of celluloid made r eitla possiblexing and Hap is Ity and she’s a singer.” Mystery solved,’ con- Mesopotamia. In those first years films were crude, Antony visits her at her palace. She puts on Society blissfully E an am t and Mtoid makedle E longerast and more elaborate movies. to more of gyptian musica azed Paris aud lasting only a minute or so and dealing with quite a show - gladiator matches, dancingT girlshe Ancient Egyp looks forward l tinued Doug. ‘X-rays were i- tian Society of bers is cieties Scene’ this ny simple subjects such as a vaudeville routine or The Egyp atured in our ‘SIto ran nearly 90 minutes whenur re mostlaxed features compa made of an Egyptian - the whole thing looks sa abitn like vaudeville(AEMES) ,in fe site on yo tradit Those ancient musicians, often laid to military march. But by 1910, film times were South Africa ha e groupstill w raneb an hour or less. But Gaskillut Vo luandme 2 ions. rest in relatively wealthy burials, the fine con- angle harp at the Louvre, ence in 1895 Egyptian outfits, but it is enough stou einspire. Visit th lease througho , no-one resting web site is t/indGardner’sex.html, a confidencend p didn’t extend to cam-e. getting longer and plots and scenery more elab- Antony toin tefight Octavian. There’s an uninten-ocities.com/anicen of AE magazin dition of their skin and hands providing further for instance,’ explained can find www.ge era iswork.h Eg yMuchptolo gofica thel movie is still filmed orate. Directors expressed their roots in the the- tionally hilariouswhere yo sequenceu when a messenger noted in the Brit evidence of their profession in life, cannot Doug. ‘Without having to c ote, as is also orrect. PY ould know they w rmation about n ), thasat ‘aa play,nicen t’with is c fixed, mid-range shots. Later HA ere atre by presenting scenes from popular plays. brings theinfo pharaoh news of the defeat at Directory (BES o. tear into the instrument, a lot of s in South Societies in theove rfilmseas thegro ucamerap, to begins to move a bit ‘Antony and Cleopatra,’ with its romantic Actium. Am furiousummie Cleopatra offers the bearer ’ve first news of an We more, panning across scenes and giving demonstrating story, exotic setting and Shakespearean of bad tidingsAfric aa glass of poisoned wine. He 34 what was closer views of the actors. As fortune turns respectability, was a natural choice. goes through an incredibly acrobatic dying against the couple at the battle www.ancientegyptmagazine.comof Actium, to be The earliest surviving Cleopatra film process requiring a serpentine flexibility and ANCIENT come the most p the camera cuts between Antony and EGYPT OCTOBER ow- was made in 1910 by Pathé-Frères, a French most of the stage. When he is finally finished, /NOVEMBER Don’t forget to log on to Ancient Egypt Magazine’sCleopatra at anown ever Website quickening at: pace, indi- /JULY 2001 2001 company that was the industry leader until two guards nonchalantly chuck him off camera. EGYPT JUNE OCTOBER er cating the increasing tension feltA NbyC IEtheNT /NOVEMBER 2001 A ful artistic mediu World War I. It runs slightly longer than ten Antony then arrives at the palace steps with NCIENT E m of characters. Their anguished looks and histri- GYPT minutes and all the action takes place on a sin- Octavian and his army in hot pursuit, stabs 58 onics as their forces fall under Octavian’s the tw gle stage. The primitive and cumbersome cam- himself, blows Cleopatra a kiss, and promptly entieth century 35 onslaught look overplayed to a modern audi- . era remains fixed. Different scenes are con- dies. Cleopatra retreats to her bedchamber with ence, but are still fairly effective. structed just as in a play, by changing the a pack of weeping, flailing servant girls to join Even t ime would be no scenery rather than the location. The credits her lover in the afterlife. The battle itself is never shown - it have unfortunately been lost. was beyond the producer’s budget. It was By today’s standards the film is clum- also beyond the budget to make sets that barrier to i The film opens in Cleopatra’s court, sy and overacted, but for audiences of the time ts creative didn’t blow in the wind. On a number of where the queen is informed of Antony’s it was state of the art. Few film productions that occasions walls tremble ominously, creating ‘ po arrival. The scene is typically Orientalist: year could match its elaborate sets or numbers Antony an tential. S an unintentional but apt metaphor for d ean harem girls lounging about, burly Nubians fan- of richly costumed extras. This was memorable Antony and Cleopatra’s approaching doom. ning her Highness, and every man wearing a cinema. Cleopatra,’ w ith its Mclachlan take Nemes headcloth. Cleopatra also wears a s us to Two years later, American director The silver screen’s first Nemes, along with a jewelled vest and sheer Charles Gaskill filmed another version of the sex symbol... romantic story, ex th dress. Despite being heavily covered as all epic tale. It starred Helen Gardner, a famous otic e movies, Egypt Gaskill’s version was popular, but the 1917 ian- women in mainstream films were at the time, actress who reflected her character’s forceful ‘Cleopatra’ by J. Gordon Edwards was a box sett so much so that the fateful asp has to bite her personality by being the film’s producer and ing and sty office sensation. It starred the beautiful and le. on the neck, she gives off an alluring presence. editor, positions rarely held by women in brilliant Theda Bara. There has probably She decides to meet the Roman, and hails her Hollywood even today. She also designed the Shakespearean been no other actress in the history of film barge (rowed by more burly Nubians), which costumes, which look inspired by the Pathé that was better suited for the role. Dubbed arrives along a river set at the back of the stage. version. Gardner plays the Ptolemaic queen as respectability, w ‘the screen’s first sex symbol’ by film histo- as a a vulnerable, lovelorn woman. rian Leonard Maltin, Bara intrigued her fans natural c with her beguiling looks and bizarre person- hoice... 22

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NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 19

FEATURE Vamp,Victim...Vamp,Victim... VÄxÉÑtàÜtor Vulture? ÉÇ

When August and Louis nly a few months after the first The scene changes to Antony’s camp. There Lumière screening, Thomas Edison she quickly bedazzles the Roman leader with a showed the earliest historical pic- few coy glances and poses, much to the chagrin Lumière showed the very Oture, ‘The Execution of Mary, of Antony’s wife and Octavian. Queen of Scots.’ Historical subjects were one The most elaborate scene comes when first motion pictures to of film’s original genres. Antony visits her at her palace. She puts on In those first years films were crude, quite a show - gladiator matches, dancing girls an amazed Paris audi- lasting only a minute or so and dealing with - the whole thing looks a bit like vaudeville in simple subjects such as a vaudeville routine or Egyptian outfits, but it is enough to inspire military march. But by 1910, film times were Antony to fight Octavian. There’s an uninten- ence in 1895, no-one getting longer and plots and scenery more elab- tionally hilarious sequence when a messenger orate. Directors expressed their roots in the the- brings the pharaoh news of the defeat at could know they were atre by presenting scenes from popular plays. Actium. A furious Cleopatra offers the bearer ‘Antony and Cleopatra,’ with its romantic of bad tidings a glass of poisoned wine. He story, exotic setting and Shakespearean goes through an incredibly acrobatic dying demonstrating what was respectability, was a natural choice. process requiring a serpentine flexibility and The earliest surviving Cleopatra film most of the stage. When he is finally finished, to become the most pow- was made in 1910 by Pathé-Frères, a French two guards nonchalantly chuck him off camera. company that was the industry leader until Antony then arrives at the palace steps with erful artistic medium of World War I. It runs slightly longer than ten Octavian and his army in hot pursuit, stabs minutes and all the action takes place on a sin- himself, blows Cleopatra a kiss, and promptly gle stage. The primitive and cumbersome cam- dies. Cleopatra retreats to her bedchamber with the twentieth century. era remains fixed. Different scenes are con- a pack of weeping, flailing servant girls to join structed just as in a play, by changing the her lover in the afterlife. Even time would be no scenery rather than the location. The credits By today’s standards the film is clum- have unfortunately been lost. sy and overacted, but for audiences of the time The film opens in Cleopatra’s court, it was state of the art. Few film productions that barrier to its creative where the queen is informed of Antony’s year could match its elaborate sets or numbers arrival. The scene is typically Orientalist: of richly costumed extras. This was memorable potential. Sean harem girls lounging about, burly Nubians fan- cinema. ning her Highness, and every man wearing a Two years later, American director Nemes headcloth. Cleopatra also wears a Charles Gaskill filmed another version of the Mclachlan takes us to Nemes, along with a jewelled vest and sheer epic tale. It starred Helen Gardner, a famous dress. Despite being heavily covered as all actress who reflected her character’s forceful the movies, Egyptian- women in mainstream films were at the time, personality by being the film’s producer and so much so that the fateful asp has to bite her editor, positions rarely held by women in style. on the neck, she gives off an alluring presence. Hollywood even today. She also designed the She decides to meet the Roman, and hails her costumes, which look inspired by the Pathé barge (rowed by more burly Nubians), which version. Gardner plays the Ptolemaic queen as arrives along a river set at the back of the stage. a vulnerable, lovelorn woman.

22 ANCIENT EGYPT NOVEMBER /DECEMBER 2001 FEATURE

Vivien Leigh on stage with Laurence Olivier in Antony and Cleopatra (1951) ÇY|ÄÅ Picture copyright Mander & Mitchenson.

The 1912 ‘Cleopatra’ was pro- duced at a transition time for filmmakers. Improvements in technology and the decreasing cost of celluloid made it possible to make longer and more elaborate movies. It ran nearly 90 minutes when most features still ran an hour or less. But Gaskill and Gardner’s confidence didn’t extend to cam- era work. Much of the movie is still filmed as a play, with fixed, mid-range shots. Later in the film the camera begins to move a bit more, panning across scenes and giving closer views of the actors. As fortune turns against the couple at the battle of Actium, the camera cuts between Antony and Cleopatra at an ever quickening pace, indi- cating the increasing tension felt by the characters. Their anguished looks and histri- onics as their forces fall under Octavian’s onslaught look overplayed to a modern audi- ence, but are still fairly effective. The battle itself is never shown - it was beyond the producer’s budget. It was ‘ also beyond the budget to make sets that Antony and didn’t blow in the wind. On a number of occasions walls tremble ominously, creating Cleopatra,’ with its an unintentional but apt metaphor for Antony and Cleopatra’s approaching doom. romantic story, exotic The silver screen’s first setting and sex symbol... Gaskill’s version was popular, but the 1917 Shakespearean ‘Cleopatra’ by J. Gordon Edwards was a box office sensation. It starred the beautiful and brilliant Theda Bara. There has probably respectability, was a been no other actress in the history of film that was better suited for the role. Dubbed natural choice... ‘the screen’s first sex symbol’ by film histo- rian Leonard Maltin, Bara intrigued her fans with her beguiling looks and bizarre person-

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 23 The many es of ality. She dressed all in black, her angular fea- fac in Cleopatra tures and kohl-circled eyes alluring but faintly menacing under her square-cropped raven black hair. Theda Bara: 1917 She claimed to have been born at the base of the pyramids and gave long, rambling Theda Bara's publicity for her 1917 press conferences during which she ate raw Cleopatra stated that she was born in the meat and regaled reporters with tales of her shadow of the Pyramids; her Gothic style psychic powers. She even performed séances augmented the myth. 'Vamp' entered the where she talked to her dead house pets. Her English language as a result. publicists hinted that she was a vampire, and the word ‘vamp’ entered the English language because of her. Sadly, there is no surviving copy of the film. Like so many works of the silent era, no one thought of preserving it. Movies were disposable, re-releases were rare and there was no television on which to broadcast old pro- ductions. All copies were either thrown away or Claudette Colbert 1934 allowed to decay. Publicity shots show Bara at her Gothic best, decked out in pseudo-Egyptian Claudette Colbert was the first screen garb and fixing the camera with a hypnotic and Cleopatra to have a voice - she is con- almost menacing gaze. Reviews indicate she vincing because 'even she is not sure played Cleopatra as the strong, seductive, will- of her true motives, a bewitching ful woman she probably was, but no script sur- woman who leads men to their vives to tell us more. What may have been one destruction'. of the greatest portrayals of the fabled queen is lost to history. But Cleopatra wasn’t to remain silent forever. In 1934, Cecil B. DeMille directed the first talking Cleopatra picture, a lavish epic in the grandiose style of Depression-era Hollywood. At a time of soup lines and the Dust Bowl, audiences flocked to movies that Vivien Leigh: 1945 showed beautiful people in wealthy surround- ings. DeMille made some of the best. Critics hated it. They called it ‘a com- Vivien Leigh's stage performances edy of modern manners in fancy dress.’ But it may have enthralled, but her 1946 was exactly what the audiences wanted. film version of Cleopatra does not Despite his lavishness, DeMille was a convince. Leigh shot to stardom stickler for accuracy. He is said to have stormed as Scarlet O'Hara in Gone with the onto the set moments before a shoot to remove Wind; 'I have found my Scarlet,' a silver cup from the scene. It was centuries too said the Director as Atlanta late in style, and he wouldn’t tolerate it being in burned in the background. his picture. Even Colbert’s hairpins were muse- um replicas. Colbert is convincing as the mercurial Cleopatra. Starting as a pouting, spoiled girl, Amanda Barrie: she quickly learns the rules of the political game 1964 into which she is thrust, eventually manipulat- ing everybody with whom comes into contact. Carry on Cleo, undoubtedly There’s a hardness, a practicality beneath her Carry On comedy at its best, flirtation that rings true. This could be the real had the inspired pairing of Syd Cleopatra - both ruthless and coy - a woman in James as Antony and Amanda a man’s world able to hold her own and unafraid Barrie as Cleo. The film has to use her one trump card. one of the most memorable Cleopatra sets out to seduce Caesar, lines ever, uttered by Kenneth played by Warren William, in order to save her Williams as the dying Caesar: throne from Ptolemy. The two are electric 'Infamy, infamy, they've all got it infamy!'

24 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 FEATURE

together as powerful rulers locked in a battle of to a chaste peck on wills. Both struggle with an intriguing mixture the forehead in the of self-interest and love as they try to have final scene. Caesar both a relationship and a political alliance. ‘I departs, promising am Egypt,’ Cleopatra declares. ‘Only if I make to send a ‘real you so,’ is Caesar’s reply. Here are two people man’ (his words) who are used to being obeyed. They have in the form of never before had to deal with an equal. Their Antony. conflict is never resolved; Caesar goes back to Leigh’s Rome only to meet his death. Cleopatra is At first it is the same with Antony, downright played by Henry Wilcoxon. She sets out to painful to watch. dominate him, even taunting him at their first We are treated to meeting, ‘I’m dressed to lure you, Antony. such queenly Don’t you know you’re my enemy, you and statements as, your hungry Rome?’ ‘My blood is And lure him she does. She showers made of Nile him with wealth and dazzles him with dancing water, that’s girls. In a memorable scene, her slaves pull up why my hair is a net from the sea and out slither a half dozen so wavy,’ and girls clad only in seaweed, who present ‘When I am old enough I Antony with jewel-filled oysters. The girls shall do what I like. I shall be able to poison aren’t the only ones being reeled in. the slaves and watch them wriggle.’ Cleopatra Published to accompany the Cleopatra’s motives are entirely mer- is reduced to a simple child. major British Museum exhibition cenary. Having grown callous from the affair Luckily, Joseph Makiewicz saved the on Cleopatra, Cleopatra's Face: with Caesar, she thinks only of her political subject in 1963 when he directed the most Fatal Beauty continues the myth position. She even poisons his wine to save famous version of Cleopatra. Starring of Cleopatra as seductress, her country, only to realize that she’s fallen in Elizabeth Taylor and Richard Burton, this femme fatale and vamp with love. She knocks the deadly draught out of his three-hour epic delves deeply into the motiva- images from stage, screen and hand and cries, ‘At last, I’ve seen a god come tions and relationships of Antony, Caesar and art. Quotes from writers through to life. I am no longer a queen, I’m a woman!’ Cleopatra. the ages continue the theme This is cold comfort for Antony, The ghost of Alexander the Great and promote the image; but was belittled after his defeat by his fellow Romans. hovers over their every action. Many of the it the real Cleopatra? Recent ‘You gave up the world for a woman,’ they key monologues and conversations happen by investigations suggest a far taunt, ‘and the world gives you its scorn for his tomb. Julius Caesar visits the tomb and more astute and political figure. it.’ He dies regretting his foolishness, calling weeps. Cleopatra asks him why. The ruler out to the heavens, ‘Antony, the plaything of a replies, ‘When he conquered the world he was woman!’ 31. I am 51.’ Cleopatra responds by saying that if Egypt and Rome united, they could still Femme fatale conquer the world. After Actium, Mark Colbert’s Cleopatra is the ultimate femme Antony hides away from Cleopatra in fatale. She is seductive and controlling and Alexander’s tomb. Besotted with wine, he impossible to understand since even she is not launches into a brilliant self-pitying mono- sure of her true motives, a bewitching woman logue about how he is forever in Caesar’s who leads men to their destruction. shadow, little knowing that Caesar was living Not so with Vivian Leigh’s rendition in Alexander’s shadow. in the 1945 ‘Caesar and Cleopatra.’ This Makiewicz has hit upon something Cleopatra is nothing more than a silly little here - great rulers are still human. They have “ girl. The movie opens with her hiding in the faults, conceits and, above all, insecurities. Great rulers desert from both Ptolemy and the Romans. Alexander’s vast conquests created a cult of She is found (saved) by Caesar, played by a personality that echoed across the centuries. are still human. smug and paternal Claude Rains. Caesar is Most rulers were painfully aware that they charmed by the fluffy and innocent heir to the could never match his feats. As the mobs of They have faults, Ptolemaic dynasty and makes everything bet- sycophants who crowded around every throne ter by getting rid of Ptolemy and plopping her throughout history told these kings of their conceits and, on the throne of Egypt. Rains is the indulgent greatness, of their vast fame and glorious father trying to make his spoiled daughter domains, his name must have crept through above all, grow up. Forget the whole bit about Caesarion the dark recesses of their minds. Did - it never happened. Their romance is reduced Charlemagne wince when his subjects called insecurities....”

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 25 FEATURE

For Caesar, the marriage to Cleopatra is at least in part a political one. Cleopatra seduces him more with her dreams of world conquest than her physical charms. Nevertheless, she is hurt when some servants convince her that he never really loved her. When Antony arrives in Egypt, it is to meet a wiser, more calculating pharaoh who sets out to enthrall him. In the famous barge scene, she intoxicates and titillates Antony. A drunken Bacchus caressing an Egyptian woman, obviously meant to portray Antony and Cleopatra, parade before him. It is an act both seduc- tive and humiliating. Antony is taught his place from the very beginning. But all does not go accord- ing to plan. Cleopatra finds herself falling madly in love and the two are pulled into the vortex of history. Antony is tormented by the memory of Caesar, the man who came before him in all things, even Cleopatra’s bedchamber. Cleopatra, despite her lover’s obvious failings, refuses to betray him, and so loses her king- dom and her life. It is this dramatic love triangle, and the world it shook, that makes the story of Antony, Cleopatra, and Julius Caesar so fascinating. Makiewicz’s film shines because he realized this more than any other director.

Keeping the story fresh The challenge of Cleopatra for direc- tors and scriptwriters is a tough one - we all know what happened. They can only play with history so much before our sense of what the story ‘is’ gets in the way. The best versions Cleopatra the Egyptian: the him ‘the Great?’ Did the Byzantine emperors of Cleopatra turned this into an asset, by con- temple foundations of the lay awake nights dreaming of matching centrating on character development and elabo- Ptolemaic period, with their Alexander’s conquests? Makiewicz shows us rate sets. Burton’s tortured Antony, DeMille’s unique hieroglyphs, give us our they probably did. sumptuous palaces, Bara’s enticing femme best knowledge of daily ritual in In most films, Antony is more com- fatale - these are what keep the story fresh. Egypt. Ruling over a diverse pelling than Caeser. He is the one Cleopatra Directors had plenty to work with. population may have given the truly falls for. Only in Makiewicz’s treatment The historical record is rich in political detail queen her ability to be all does Caesar come to the fore. He is the wise but tantalizingly vague when it comes to the things to all people, providing and confident statesman, secure in his role and people involved. This allowed filmmakers to her ability to negotiate with and able to command respect from his subordi- recreate the story for each new generation. As manipulate, for a while at least, nates. Burton’s Antony is none of these things. Wilcoxon says to Colbert when she asks him if the growing power of the It’s odd that Cleopatra falls for him so com- he would leave her for another woman, ‘You Roman empire. pletely. Perhaps Antony, who like all of are another woman. New, always new, com- Burton’s characters wears his heart on his pletely new.’ sleeve, is ultimately more trustworthy. AE

26 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 page 29.qxd 13/02/1950 19:25 Page 1


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Orders to: Ancient Egypt, 1 Newton Street, Manchester M1 1HW Tel: 0161 872 3319 www.ancientegyptmagazine.com Please allow 14 days for delivery FEATURE NineNine MeasuresMeasures ofof MagicMagic PART 3: ‘OVERTHROWING APOPHIS’: EGYPTIAN RITUAL IN PRACTICE

Throughout Egyptian n the Book of Overthrowing specific forces from the mythical and divine Apophis, the longest and most world into the mundane sphere and the situa- important part, in terms of its magi- tion the magician needed to deal with. history, a major focus of cal value, of the Papyrus Bremner- Cultic language was the medium and I th Rhind (4 century BC), the expression process to access the divine and to link the ritual activity was ‘what is said consisting of magic’ is fol- mundane and terrestrial spheres into a united lowed by the statement ‘when Apophis is ceremonial performance. intended to overcome placed (on) the fire’, indicating that ver- The mechanisms involved in the bal expressions (spells) and physical assembly and function of a magical narrative modes of action (known as apotropaic personal, divine or for- techniques) provide the core of ceremoni- al Egyptian magic. Each episode of a ritu- eign enemies of the king al was composed of a series of threat for- mulae and magical utterances combined with a number of symbolic gestures and or state. Other members techniques. This combination was essen- tial for the effective outcome of the magi- of Egyptian society also cal procedure. availed themselves of Spells and conjurations Spells and oral conjurations form the corner stone of a magical ritual. The importance of these apotropaic prac- spells is very well exemplified in the direct equation and identification of heka with the spo- tices, which are ken word. In col. 24/17-18 of the Apophis Book in the Papyrus Bremner-Rhind we read: ‘Retire, turn back at this magic (heka) which has come described for us in the forth from my mouth for Pharaoh!’1 Magical speech during the ceremony formed the channel final part of our series through which the magician could activate and reinforce both his magical capabilities and the accompanied apotropaic techniques. by Dr Panagiotis It was the special meaning and apotropaic force, hidden within the literary Kousoulis. structure of a magical narrative, that caused the mobilisation of certain powers and actions dur- ing the course of the ceremony. The pronunciation of special ‘words of power’ could extract, either through their own verbal ascendancy or in conjunction with other literary elements within the narrative,

28 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 FEATURE Left: Four terracotta figurines of bound Nubians, c. 20th – 19th centuries BC. These were used in execration rituals (Pinch 1994, fig. 49).

Right: Terracotta model of a woman pierced with iron nails, c. 200- 300 AD. This figurine was buried in a pot with a lead tablet inscribed with a love charm. Louvre inv. E 27145 (Pinch 1994, fig. 48).

Below: Foreign enemies representing subject nations. Among them are Beduins, Nubians, Libyans, Cretan and Babylonians. The enemies kneel in supplication and are tied together by a papyrus stem symbolic of Egypt. This frieze adorns the dais of the thrones of Amenhotep III and Queen Tiye in the tomb of Anen (TT 120), c. 1380 BC. The Metropolitan Museum of Art’s Collection of Facsimiles, 33.8.8. could vary, from the simple quotation of a tection (lists) and specially designed threat and mythical background (historiola), that com- curse formulae within a broader performative prises the main point of reference for the and liturgical environment. mobilisation and development of the magical action, to more sophisticated literary tech- ‘I have overcome the enemies of niques, such as the identification of the magi- Pharaoh’ cian with a specific god whom he invokes dur- Within this ritual environment, the power of the ing the rite (divine speech), the enumeration of oral incantations was reinforced by the symbol- certain parts of the body with their divine pro- ic destruction of wax figurines in the form of

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 29 FEATURE

Above: The Pylon Gateway of the enemies of cosmic and political order, or made of wax and drawings on papyri was the the temple of Horus at Edfu. It the burning of a sheet of papyrus, with the rule for the majority of the sacrificial actions is decorated with the propa- name and figure of the enemies drawn on it: performed during the ceremony. gandistic scenes of the king This special use of objects has its own smiting his enemies. These ‘This spell is to be recited over (an image symbolic meaning and apotropaic value, which representations were reflect- of) Apophis drawn on a new sheet of rely on the specific material that is used and the ed in the everyday cultic per- papyrus in green ink, and (over a figure of) magical principle of analogy and similarity that formances inside the temple Apophis in red wax. See, his name is is expressed between the two poles in the cere- precinct, where a priest, rep- inscribed on it in green mony, these being the figurine or resented the king, was ritually ink … I have overthrown iconographic papyrus (the object slaying images of human ene- all the enemies of or medium) on the one hand and mies and divine demons. Pharaoh from all their “ the divine or human enemy (the seats in every place where An object made target), on the other. Below: Detail from the East they are. See, their names The similia similibus pylon-gateway of the temple written on their breasts, of wax is characterised formulae are traditionally of Horus at Edfu, showing having been made of wax, referred to as sympathetic or Ptolemy XII smiting his ene- and also bound with by its vulnerability homeopathetic rituals, but they mies bonds of black rope. Spit can more precisely described as upon them! To be tram- thus, it could easily be ‘persuasively analogical’; ritual pled with the left foot, to of this kind is not based on poor be fallen with the spear destroyed during science or a failure to observe (and) knife; to be placed empirical data but rather on a on the fire in the melting- strong belief in the persuasive furnace of the copper- the rite...” power of certain kinds of formu- smiths … It is a burning laic language. in a fire of bryony. Its ashes are placed in a pot of urine, which is pressed firmly into a Images of wax unique fire.’2 The choice of wax as the basic constructive material for the figurines is related to its pecu- Although it is not unlikely that an exe- liar physical properties, that makes it quite suit- cration ritual continued occasionally to involve able for magical operations, and to its mytho- human sacrifice, the use of execration figurines logical association with the divine realm: wax

30 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 FEATURE

Magical healing statue of Djedhor from basalt (323-317 BC). It was inscribed with magical spells against snakes and other malign creatures. In its front part, it shows the young god Horus trampling upon croc- odiles (E. Russmann, Egyptian Sculpture: Cairo and Luxor, London 1989, 195).

Inset: Detail of the healing statue of Djedhor, showing Horus trampling upon crocodiles. This kind of scene imitates the relevant scenes in the cipi-stele of the Late Period.

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 31 FEATURE

Representation of the rth-p’t as a primeval substance was said to be created ‘Spitting upon, trampling and ritual (‘subjugating humani- by the sun god himself.3 Yet, an object made spearing’ ty’), performed in the temples of wax is characterised by its vulnerability After the formation of the appropriate imple- of the Ptolemaic period. The and, thus, it could easily be destroyed during ments that could serve as medium and solid king netting wildfowl with the the rite. Also, the fact that it can be burnt with- points of reference for expelling an amorphous gods Khnum and Horus the out leaving any ashes distinguishes it as a per- adversary, the ritualist commences the magical Behdet. Temple of Khnum, fect symbol guaranteeing the total eradication procedure. hypostyle hall, Esna, of the hostile image that it represents. The According to the rubric of the Apophis Ptolemaic period (R. same attributes could also apply to the book, quoted earlier, the magical procedure is Wilkinson, Symbol and Magic papyrus plant, which was used on which to basically developed into the following steps in Egyptian Art, London 1994, write the various spells and draw the hostile with occasional variations: ‘spitting upon’ (psg) fig. 141). images. the hostile image, ‘trampling upon’ (sin) it with For the Egyptians, the colour green his ‘left foot’ ‘spearing’ (hw) it with his ‘spear’ (w3d) was derived from and was associated (m‘b3) or ‘knife’ (ds) ‘binding’ (q3s) and wrap- with the papyrus plant (w3d), as a symbol of ping it in the papyrus, before placing it on the flourishing (w3d) and eternal renewal. Both fire (hh). bear, amongst other properties, strong protec- In addition to the positive, curative tive attributes expressed in a variety of ways aspects of spitting and its role to the creation of and contexts. ‘Papyrus column’ amulets made cosmos, which is envisioned in so many of green stone were regarded as very effective Egyptian myths and tales, its potential nature as in expelling evil in the real world and the here- a weapon of destruction and corruption is well after. From the Ramesside period onwards, and emphasised in the magical texts and well prac- especially during Graeco-Roman times, lion- tised in the apotropaic dromena. headed goddesses, particularly Bastet, Sekhmet Because the act of spitting was hostile and Menhet, carry the papyrus as a symbol of and magically threatening, it could be easily protection and elimination of every harmful associated with the ejected venom of serpents, notion or enemy. scorpions, insects, and other creatures. Thus,

32 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 FEATURE

Left: Ptolemy VII Euergetes II destroys a prisoner before the god Horus the Behdet. Edfu temple, Ptolemaic period (R. Wilkinson, Symbol and Magic in Egyptian Art, London 1994, fig. 155).

Left: Ramesses II with prisoners of war. From the Temple of Amun at Karnak. Dynasty 19 (R. Wilkinson, Symbol and Magic in Egyptian Art, London 1994, fig. 156).

spitting figures prominently in both the recitations and praxis of execrations directed against wax fig- urines representing the divine demons and their Left: It was the combina- associates. tion of the potency of the Trampling upon an enemy was a standard word in conjunction with gesture in magical rites. It derives from the common ritual action which pro- imagery of the traditional enemies of Egypt, repre- duced the efficacy of the sented on the king’s footstool and on the sole of his magical ritual, often enact- sandals, so that he was constantly trampling on them. ed as a type of play based The same idea is found in funerary on ancient Egyptian magic. The casting of the hostile image with a mythological stories such spear or knife follows the spitting technique. In as that of Horus and Seth. fact, this formula dominates the relevant reliefs on the walls of the Ptolemaic temples. The king, rep- resented by the priest in the everyday re-enact- ment of the rite, spears the enemy (human or divine) in the presence of the patron deity of the temple (the temple statue in real life). The sacrifi- cial immolation of the figurines comes as the final apotropaic step and symbolises the total destruc- tion of the enemy. The theme of the burnt offering is not normally considered central to Egyptian ritual, but where it is developed, it carries the theme of sac- rifice of the enemy. Quite often, the precise place where the fire takes place is clearly stated in the rubrics of the magical papyri: ‘To be placed on the

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 33 FEATURE

traced back, at least, to the Middle Kingdom depiction of a small brazier in the context of offering scenes. An oval cavity, 68m deep, in the form of a trun- cated cone, excavated at Mirgissa could have served a similar purpose.6 Into this pit were placed five unbroken crucibles of dried mud, duplicates of the typical crucible used for copper smelting. Since wax does not leave any residue after being burned, it was the ashes from the papyrus that had to be col- lected ‘in a pot of urine’ and placed, con- secutively, on a new fire. There is a par- allel correlation, here, between a by- product of the human body, the waste liquid, which has to be discharged from it as totally useless and, somehow, danger- ous for its harmonious function, and the The ritual formulae fol- visible symbolic remains of a superhu- 4 lowed a set pattern of fire in the furnace of the coppersmiths’ and, else- man foe, which are still regarded malicious until actions in which the where, ‘the furnace (w3w3) shall consume you.’ they are completely dispersed. human or demonic enemy was first execrat- Preserving the House of Life The power of encircling ed, using images, before The term w3w3 is a reduplicated form of After the burning of the enemy’s physical the final destruction of the verb w3 (‘to roast’) meaning ‘fire, ‘body,’ assimilated to a wax substitute or a these images by fire. flame.’ It is attested quite often in the drawing on a sheet of papyrus, the magician funerary texts of the Middle and New endeavours to control his malicious activities in Kingdom referring to the divine flame, the Underworld through the magical technique personified as the uraeus or ‘mistress of of ‘encircling’ (phrt) his ‘shadow’.7 Although fire’, that burns up the enemies of Osiris the term phr is especially involved in prophy- in the Underworld. There is, here, a direct lactic rites for purification, its destructive, conformity between the ritual burning of aspects cannot be dismissed. wax figures as common cultic practice on In the Underworld, the ‘subjugation’ earth, and the mythological execution of yielded by the technique of encircling consist a criminals and sinners in the Underworld. major threat for all the parts of the personality Based on this analogy between religious of both the blessed deceased and hostile practice and funerary dramatisation, the demons. It is this function of phr that is meant representations of such furnaces on the under the rubric of this book and is performed tomb walls could help us conceive an idea by the magician likewise. What actually hap- about their form and liturgical applica- pens in the ritual against Apophis is the acqui- tions, since no information or depiction is sition by the magician/priest of a funerary given in the Apophis Book. spell/rite, spell 108 of the 18th Dynasty Book The citation of the word ‘furnace of of Dead, which deals exactly with the same coppersmiths’ implies a metal construction theme: the deprivation of the power of the ser- enduring enough for fusing or melting copper. pentine demon by the successful use of magical It might be similar to the one quoted in the late control (phr): Ptolemaic period story Instructions of Ankhsheshonq, as ‘brazier/furnace of cop- ‘I am the Great of Magic (heka), the son of per’and in Papyrus Salt 825, where it intro- Nut. My magic (akhu) has given to me duces a whole section of execration practices, against you ... I have encircled this sky, part of the rth-p‘t ritual (for the preservation of while you are in bonds.’8 the ‘House of Life’), which is illustrated by vignettes depicting four square furnaces with There seems to be here a close affiliation of two bound enemy motifs in them, ready to be phr with both notions of the Egyptian magic, heka and destroyed by fire.5 akhu, which not only confirms the prophylactic and These furnaces could be either artificial magical nature of the former, but also it divulges the or natural constructions, attached to the temples divine origin and practice of the technique as a method for this purpose. Their representation could be to retain cosmic order and to repel the forces of chaos.

34 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 FEATURE

There is again here, as with the burn- a fourteen day period at Edfu, execration ing formula above, a direct juxtaposition and images of serpentine images of Apophis, integration between the funerary rites as these together with those of hippopotami and croco- are expressed through the multifunctional diles, symbolising Seth, are used in execration funerary texts of the New Kingdom, and the rituals against the enemies of Horus.9 magical apotropaic techniques and formulae. The rituals were completed with the ‘striking of the eye’ (of Apophis), the offering of A suitable day and hour the hippopotamus cake, the ‘trampling of fishes’ The choice of the suitable day and hour for the and ‘destruction of all the enemies of the king.’ magical operation was essential for the success of The destruction of the enemies should also have the rite. Such choice was deter- been part of the Busirite liturgy mined by the nature and charac- of the Osiris Mystery performed ter of the rite, as well as the spe- from 23 to 30 Khoiak near the cial mythological bonds that “ tomb of Osiris in the divine connect it with the divine sphere. Rituals that were necropolis at Dendera. Thus, rituals that were Another allusion to related to the sun god and his related to the sun god the Apophis’ destruction as a adversaries, usually took place liturgical component is found in the morning, while spells and his adversaries, in the Apis bull embalming rit- against the dangers of the night ual described in the Papyrus were performed at dusk. Also, usually took place in Vindob. 3873.10 calendars of lucky and unlucky After the mummifica- days, where the classification of the morning, while tion process, the coffin contain- the days was based on events in ing the mummy is placed on a myth, play an important role as spells against the dan- boat and is then transported to guidelines for the designation of the Lake of the Kings in a pro- the time the performance. cession attended by the god- Very often, a particular gers of the night were desses Isis and Nephthys and rite, like the one against Apophis, headed by the god Wepwawet of could be practised every day. This performed at dusk...” Upper Egypt and the god frequent performance reflects the Wepwawet of Lower Egypt, Footnotes daily fight between Apophis and the sun-god in Horus and Thoth. On the arrival at the Lake the the Underworld, which was common and well Apis is lifted up onto a raised platform, while 1 Faulkner, JEA 23 (1937), 169-70. developed theme within the context of the funer- priests sail across the Lake reading from nine 2 P. Bremner-Rhind, col. 23/6-10 ary papyri, Underworld books and apotropaic sacred books. The Apis then undergoes the and 26/2-6 = Faulkner, JEA 23 sun hymns of the New Kingdom onwards. Opening of the Mouth ceremony before it (1937), 168 and 172; similar tech- returns to the Embalming House. Two of the niques are used for the destruc- Horus of Edfu nine books being recited by the priests are enti- tion of Seth in P. BM 10081, 5/7-10 The performance of the magical practices with- tled ‘The book of the protection of the divine = Schott, Urk. VI, 35-42; cf. idem., in the liturgical environment of a temple was bark’ and ‘the book of exorcising of (evil).’ MDAIK 14 [1956], 181-89). closely interconnected with all the major reli- These rituals could be addressed against any 3 Raven, OMRO 64 (1983), 28-30. gious festivals. Thus, during the festival in malign demon or human enemy. 4 P. Bremner-Rhind, col. 26/4 = favour of Horus the Behdetite, celebrated over AE Faulkner, JEA 23 (1937), 171. 5 Derchain 1965, pls. 10-12; com- Further Reading: pare É. Chassinat et al., Le Temple d’Edfou (Cairo, 1960), vol IX, pl. 48 1. Ph. Derchain, Le Papyrus Salt 825 (B.M. 10051) van Oudheden te Leiden 64 (1983), 7-47. (Plate 9) and vol. X, pl. CXIV. (Brussels, 1965). 7. R. K. Ritner, The Mechanics of Ancient 6 Ritner 1993, 157. 2. P. Eschweiler, ‘Bildzauber im Alten Ägypten’, Egyptian Magical Practices (Chicago, 1994), 74- 7 Ritner 1993, 57-67. Orbis Biblicus et Orientalis 137 (Göttingen, 1994). 190. 8 G. Allen, The Book of the Dead 3. R. O. Faulkner, ‘The Bremner-Rhind Papyrus I-IV’ 8. S. Schott, ‘Urkunden mythologischen Inhalts. or Going Forth by Day (Chicago, Journal of Egyptian Archaeology 22-24 (1936-38). Bücher und Sprüche gegen den Gott Seth’, 1974) 85-6. 4. Y. Koenig, Magie et Magicians dans l’ Egypte Urkunden des aegyptischen Altertums VI 9 É. Chassinat et al., Le Temple ancienne (Paris, 1994), chapter 4. (Leipzig, 1929). d’Edfou (Cairo, 1930), vol. V, 5. G. Pinch, Magic in Ancient Egypt (London, 9. S. Schott , 'Totenbuchspruch 175 in einem 134/1-7. 1994), 76-103. Ritual zur Vernichtung von Feiden,' Mitteilungen 10 R. L. Vos, The Apis Embalming 6. M. J. Raven, ‘Wax in Egyptian magic and symbol- des Deutchen Archäologischen Instituts, Ritual (P. Vindob. 3873) (Leuven, ism,’ Oudheidkundige Mededelingen het Rijksmuseum Abteilung Kairo 14 (1956), 181-89 1993), 52-3, 159-62, and 248-51.

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 35 FEATURE Who Sings to his every day:

DISCOVERING THE MUSIC OF KaKa ANCIENT EGYPT

In last issue’s Ancient hile we don’t know how ancient Egyptian Egypt, Douglas Irvine music sounded, ‘W there’s a set of described how his inter- basic sources that inform us about ancient music in Egypt,’ explained est in the music of musician and composer Doug Irvine. ‘Students of Egyptology ancient cultures devel- will be familiar with the many rep- resentations of musicians and oped. In this detailed musical instruments from tomb paintings, reliefs, graffiti and article he goes on to sculpture. We depend quite a bit on these visual sources to determine explain that while Egypt who played what instruments, how the instruments were grouped and has not yielded a set of held, the performance contexts and how instruments changed over time.’ reveal written music theory or The vivid, lively images of ancient to us the details of their work. Egyptian musicians, often women, are tantalis- However, thanks to Egypt’s notation from antiquity, ing in their silence. They represent some of the preserving climate, some of most relaxed and intimate scenes from ancient their instruments have survived there are other sources Egyptian art. Textual sources yield further in good shape and from these, information in the form of titles, particularly in the modern investigator can of information at our funerary contexts, of musicians and families of learn much about construc- musicians. tion techniques without disposal. Doug Irvine ‘One could labour over the interpreta- having to apply destructive tion of an ancient musician’s specific action in methods, an opportunity and Miriam Bibby a tomb painting or relief, but a literate scholar which does not extend to could simply read the caption over the subject’s other climates such as investigate ancient head: “Oh well, it says right here that her name Mesopotamia. is Ity and she’s a singer.” Mystery solved,’ con- ‘X-rays were Egyptian musical tinued Doug. made of an Egyptian Those ancient musicians, often laid to angle harp at the Louvre, traditions. rest in relatively wealthy burials, the fine con- for instance,’ explained dition of their skin and hands providing further Doug. ‘Without having to evidence of their profession in life, cannot tear into the instrument, a lot of

36 FEATURE Right: A sketch of harps, pipes and flutes, as depicted on an ancient tomb near the pyramids.

Below: Banquet scene: fragment of wall painting from the tomb of Nebamun, Thebes, Egypt. 18th Dynasty, around 1350 BC. A fine example of a Theban tomb painting. Musicians and dancers entertain guests, dressed in festive clothing. The musicians are perhaps the most striking in the image being represent- ed frontally rather than in profile. (British Museum) FEATURE

Arched wooden harp from the tomb of Any, Thebes, Egypt. New Kingdom, 1550-1069 BC. Usually made of wood and inlaid with bone and faience, harps were often shown in banquet scenes, decorating the walls of tombs. (British Museum.)

These ivory clappers are made in the form of hands. Used as a musical instru- ment, clappers were often played together with sis- tra, harps and pipes. Photo: © Kate Preftakes Photography, 1997

Left: A painted ceramic vase in the shape of a woman playing the lute; 18th Dynasty. (British Museum.)

construction details were discovered.’ musical structure and numerous modes or tun- Evidence from reliefs, wall ings, is among the most highly evolved musi- paintings and some of the hieroglyphic cal systems in the world. A skilled musician inscriptions and texts of hymns and knows those rules and knows how to convey songs do mean that we are well advised individuality and expression within a set struc- on the contexts in which ancient ture. It’s possible that ancient performances Egyptian music was played. could have worked this way.’ ‘Musicians played an impor- tant role in religious ceremony. Music Tuning systems placated the deities and it was an impor- The art of ancient Egypt cannot be taken at tant part of numerous festivals and ban- face value, but since artistic representations quets. Music was connected to work and provide one of the principle sources of evi- labour and there are beautiful depictions dence, art has been used to attempt to identify associating music with intimacy and sexu- possible tuning systems. ality. The Egyptians loved music,’ is ‘For example, people have looked at Doug’s belief. instruments in tomb paintings to examine and compare the lengths of strings on a harp. Doing Evidence for notation? this, it was thought, would help decipher spe- Although there is no evidence for notation, cific ratios Doug is of the opinion that a strict musical for- between string mula must have operated, for temple and lengths which courtly music, at least. could then ‘I don’t see musicians taking requests translate into in the Temple of Amun during a ceremony! It pitch intervals is possible that, within a well-established and possibly structure, some kind of improvisation could musical scales. have taken place. Today, Egyptian music All of this from incorporates the use of musical improvisation. pictures!’ However, this only works within an estab- Doug lished and sophisticated set of musical concedes that rules, and Arabic music, with a 24 tone this is ‘an

38 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 FEATURE

intriguing idea, though nothing conclusive has the experts were divided on the conclusions been reached from this approach and it reached with the information they analysed. assumes that the ancient artisans were highly ‘No matter what the results were, it’s accurate in recording all the details of the another good example of the ways in which instruments they rendered. One can actually people have attempted to uncover some of take string lengths from tomb paintings and the deepest mysteries surrounding ancient create a system from which music is made. Egyptian music. My feeling is that the I’m not sure it would have much to do with the music made by ancient Egyptians will sounds the ancients were making, but it would remain elusive, and will simply keep us fit in nicely with 20th century experimental wondering.’ music concepts.’ While studying ancient texts and In recent years, the music of ancient images relating to music is of interest in itself, Egypt has begun to receive, at last, greater there is a further value to the subject. Musical investigation than ever before. During the instruments changed over time, with new 1930’s, a famous radio broadcast of the sound items coming into Egypt and perhaps new tra- of the silver trumpet from the ditions and influences. tomb of Tutankhamun was ‘That is the great made (and this can be heard, if thing about ancient Egypt. the listener has the appropriate “ The evidence is so rich, for software, on the web-site The evidence is so so long a period of time, that www.newton.cam.ac.uk/egypt) one can trace musical evolu- However, the 1990’s have seen rich, for so long a tion across thousands of a different approach to years without ever having to research, which involves the period of time, that one leave Egypt. What we see is participation of modern day that specific traditions exist- musicians from Egypt. can trace musical ed during certain times in ‘During the 1990’s, a Egyptian history,’ explains team of scholars and musicians Doug. analysed some of the Pharaonic evolution across ‘During flutes on display at the the Old Kingdom, Egyptian Museum in Cairo,’ thousands of years for example, certain explained Doug. ‘The late instruments Egyptian nay (flute) virtuoso, without ever having to were used that Mohammed Effat, performed are unique to on the flutes, and at the time he leave Egypt...” that time. The was considered the flute player end-blown flute is Above:Bastet in all of Egypt. The concept of depicted most frequently in shaking a sistrum and the study was this: unlike a stringed instru- the Old Kingdom. This was also a time when holding an aegis, with kittens at ment, whose open strings are capable of pro- chironomists were employed, a group of musi- her feet. (British Museum). ducing a fairly broad range of possible pitches cians that made sets of hand signals, the mean- (depending on how they were tuned), a flute ing of which is not known. Sometimes chiron- has fixed points from which specific pitches omists made hand signals and sang. Even the are made through finger holes. way the musicians sat was unique in the Old ‘In the study, they recorded both sur- Kingdom, with one leg tucked under and the viving and reconstructed flutes and gathered other knee pointing upward. A good example Left: Professional musicians tables of information on of this comes from a 5th Dynasty scene in the existed on several social levels tunings, etc. It was a very tomb of Nenchefka from Sakkara from 2400 in ancient Egypt. Temple musi- sophisticated study. The BC. cians held the office of “she- real questions and criti- ‘The scene depicts a flute player, a meyet” to a particular god or cisms came in the inter- clarinet player, chironomists and a floor goddess which was a position pretation of the data. harpist. We know the chironomists appear of high status frequently held It’s too complex to only in the Old Kingdom and that the end- by women. Musicians connect- get into, but the blown flutes enjoy prominence then. The floor ed with royal households were authors drew con- harp with its gradually curving neck, a large highly regarded, as were gifted clusions based on instrument, is a type seen only in the Old singers and harp players. a small num- Kingdom.’ Lower on the social scale were ber of instru- The period providing the least entertainers for parties and ments, and amount of information is the Middle festivals.

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 39 FEATURE

Kingdom, but there is enough to show that new spots on animal hide indicating the type of ani- instruments such as the lyre and lute were mal that was used in the making of an instru- “ imported. ‘The lyre first appears in tomb paint- ment.’ There are also ings not in the hands of Egyptians, but in the The ancient Egyptians made use of hands of foreigners, Bedouins. The famous both domesticated and wild animals in the pro- many musical sub- lyre player from Beni Hassan from about 1850 duction of musical instruments. Animal gut BC depicts this very clearly.’ and sinew were used for strings. Simple rattles tleties we’ll never know These and other images show that were made of clay, and bronze was used in the some instruments fell from fashion while oth- construction of sacred instruments such as the about. The virtuoso ers became popular, and that ‘depictions of sistrum and cymbals. Doug is intrigued by the female musicians dominate the New possibilities of home-made instruments ‘that Kingdom, along with new instruments. could have been crafted from recycled materi- musician who played Cultures may not take immediate acceptance als. So far I have no evidence for this type of to new instruments. By the New Kingdom the instrument, but it would be hard to imagine the lute like no-one lyre becomes an Egyptian favourite. The evi- someone not using basic objects at hand to dence really helps us to see that Egyptian cul- make some music with.’ before or since, the ture evolved over time and that music evolved While Hathor and Bes are the right along with the changing tastes of the Egyptian deities perhaps most associated with singer whose vocal culture.’ musical traditions, it is evident that music was Ancient Egyptian musical instru- an important part of all temple rituals and a abilities were known up ments also reveal the ingenuity and skill with requirement of all the gods. ‘Bes is so often which the manufacturers worked the natural depicted with the frame drum (one of my and down the Egyptian resources around them. ‘They had access to favourite instruments) and I will continue to various types of wood, some domestic, some refer to him in upcoming recordings that incor- imported. Wood was used for sound boxes and porate the frame drum, an instrument that empire...... ” necks of instruments, or drum shells. thrives in modern day Egypt, North Africa and Animal skin was widely used as the across the Arab world,’ said Doug. sound board of stringed instruments and for ‘Hathor is connected to love, beauty drum heads. Images of harps even depict the and fertility and she’s a patron of women and

40 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 FEATURE

of music. Her associations are numerous and Roman stonework: often those associations include music. She’s ‘Strange to behold Suggested Further seen holding the sistrum, the sacred rattle. is the stone of this wall Reading: Even the handle of the sistrum will, at times, broken by fate have her head carved into the handle. She also The strongholds are bursten Music and Musicians in plays the frame drum. The work of giants decaying Ancient Egypt by Lise ‘Thanks to written records, we find the roofs are fallen Manniche, published by the that many Egyptian gods and goddesses were the towers are tottering British Museum Press, honoured with music making and with musical Mouldering palaces roofless London 1991; Catalogue of references. For example, carved hieroglyphs Weather marked masonry shattering Antiquities in the British on a surviving shoulder harp reveal the words Shelters time-scarred tempest-marred Museum III: Musical ‘sweet is the air Amun’. Ceremonies praising undermined of old Instruments, by R D Amun definitely involved music, and the tex- Anderson, BMP, London tual sources go on to reveal whole classes of Earth’s grasp holdeth 1976; Les instruments de singers, such as “Singers of Amun” and the Its mighty builders musique égyptiens au Musée very top echelon of musicians, referred to as tumbled, crumbled du Louvre by C. Ziegler, Paris “Singers in the Interior of the Temple of in gravel’s harsh grip 1979. Amun”.’ Till a hundred generations The importance of the musician’s role of men pass away.’ is evident in the ‘Short Hymn to the Aten’: Human fears and hopes are recognis- ‘Singers, musicians, shout with joy, able across the centuries, and it is left to the In the court of the benben-shrine, musicians and poets to express these ideas to And in all temples of Akhet-Aten, the rest of humanity. Does music make the The place of truth in which you rejoice.’ concept more palatable, or is it simply that they (trs. M Lichtheim) dare to address it? If complex and subtle thought was made available in Egyptian We are still left with the mystery of songs, then this must these sweet-voiced singers and the music they surely have been the made. The songs must have been many and var- case with the accom- ied, from work-songs to bawdy music in the panying music. brothel at Deir el-Medina, from sacred music to ‘There are martial tunes, from love songs to the complex also many musical thought regarding existence in the words of the subtleties we’ll never blind harper from the tomb of King Intef: know about. The vir- tuoso musician who ‘Those who built tombs played the lute like Their places are gone, no-one before or What has become of them? since, the singer I have heard the words of Imhotep and whose vocal abilities Hardedef, were known up and Whose sayings are recited whole. down the Egyptian Their walls have crumbled, empire,’ Doug Their places are gone, believes. ‘There are As though they had never been! many questions in my None comes from there, mind concerning how To tell of their state, music at any one spe- To tell of their needs, cific time changed as To calm our hearts you travelled up and down the Nile. I would be Above: Rhythm was at the Until we go where they have gone!’ very surprised if local songs didn’t differ core of Egyptian religious (trs. M Lichtheim) depending on where in Egypt you were. practices, rituals and proces- ‘When people ask me what I think the sions. Many percussionists we The passing of time, the mysteries of music sounded like, I ask them about their have information about were death, the crumbling of ancient works, have impressions of ancient Egyptian architecture, women who were highly provided a theme for poets that has lasted artwork, and so on. Their music must have trained court musicians or longer than the builders and the buildings they reflected the culture’s many other great employed by large temples as created. This theme occurs in an Anglo-Saxon achievements that we in the modern world musician priestesses. Male poem, set to music by Peter Hamill in the late admire so deeply.’ percussionists often appeared 1970’s, in which an observer comments on AE as military drummers.

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 41 TRAVEL FEATURE HekaHeka at the Louvre

ANCIENT EGYPT VISITS AN EXHIBITION OF EGYPTIAN MAGIC AND RITUAL

Earlier this year, the his compact exhibition was organised The programme of Room 2 was magic into four rooms. Room 1 introduced and religion in the realm of the temple, and Louvre hosted an exhibi- the nature of heka as a component of magic and the state. Reliquaries, talismans, TEgyptian views of the supernatural, magic ‘balls’ bearing the name of a deity, stat- tion on Egyptian magic including representations of it as a man sur- uettes and ex-voto of protective deities and mounted by the hieroglyph which writes his papyri featured in this presentation of the inter- name, as a child with a solar disk, and as a face between magic and religion. As the head and ritual. Cathie Bryan helper to Horus upon the crocodiles. The force of state, pharaoh’s role in maintaining order on of heka could be harnessed by mankind as a earth and his responsibility to protect the peo- takes us through the protection against visible and invisible enemies ple (rekhyt) in general and against the classic found in the world of the living, the world of enemies of Egypt was examined in execration revealing items in a the dead and the world of the gods. texts, sculpture and stelae. The other side of Much space was devoted to the classi- magic and the state explored was the impossi- review that compliments cal enemies of Egypt depicted as bound cap- bility of effective rebellion and resistance tives. Rendering representations of the enemy against the power of the king, as pointed out by our Nine Measures of helpless through art and spell was part of the Dr Kousoulis in his series of articles; magic magic needed to defeat him. Cosmic enemies was simply viewed as one possible form of Magic series. The the- the serpent Apophis and Seth and the eternal cycle of their challenges and defeats were matic exhibition present- shown alongside the forces of order and good- ness, such as Ma’at, the sun god in his various ed objects associated aspects and Osiris and Isis. Their roles were however more complex with magic and sympa- than this: Apophis, it is pointed out in the accompanying catalogue, was thetic magic which are always defeated, and Seth played an important role in the Egyptian pantheon, possessing temples of his own. Magic normally dispersed objects and spells to defeat the gods of disorder through ritual by man and between the Louvre’s the gods were well illustrated in this first section. four Egyptian circuits, Re is prominent as defender of the state, particu- supplemented by related larly in his form as a predato- ry beast such as the ‘Great objects on loan. Cat of Heliopolis.

42 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 TRAVEL FEATURE

Left: This winged and composite figure, Bes panthée, wearing a crown and with four arms, exudes a slightly menacing presence that evokes the idea of Egyptian magic. In fact he is associated with beneficial magic and was a popular house- hold deity.

Left: From time immemorial, the god Bes had associations with the goddess Hathor and the Above: Far from being magic needed for safe parturition. the occult and menac- His popularity lasted well into ing force that magic Ptolemaic times. became in early mod- ern Western society, Heka was an amoral power that could be used for either good or ill and was regularly harnessed by priest- magicians in order to benefit the Egyptian state. Images of the enemies of Egypt, bound and captive, make a strong state- ment of redress against wrong-doers.

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 43 TRAVEL FEATURE

HERE ARE SOME OF THE TREASURES YOU WILL FIND AT

THE HEKA EXHIBITION AT THE LOUVRE

Below: Images of serpents, and in particular the great enemy of Re, Apophis, show the inevitable tri- umph of the sun god; the cobra goddess Wadjet extended her pro- tection over the king of Egypt, Right: From earli- proving the king's domin- est times, the kings ion over potentially showed themselves chaotic forces. overcoming the ene- mies of Egypt and this symbolism had an enduring appeal for magicians and royalty

Above: The power of the eye: amulets in the form of parts of the body were a vital part of the burial equipment of the ancient Egyptians. The eye retains its appeal into modern times and is a popular image for modern jewellery makers. rebellion and magical methods aimed at harm- cept. Hetepi, head of magicians, with his bag ing the king were treated accordingly. of magic tools (cat 208) was most impressive. Room 3 presented aspects of the The last section of room 4 examined Egyptian magician’s ‘user manual’: sources of magic magic and the occult understood from the 19th writings, what to say, necessary gestures, and century through the present. accessories and talismans appropriate to the The exhibition catalogue follows occasion. Room 4 grouped together diverse closely the organisation of the exhibit and themes: threats in everyday life for which includes essays by exhibition curator Marc magic could provide some protection (against, Etienne. Since the majority of the objects for instance, the anger of the gods, illness and relating to magic are too specialist to appear in Catalogue Details dangerous animals), mythological and histori- the other guides to the Louvre’s Egyptian col- cal magicians and the survival of magic in lection, the catalogue is a useful reference. Author: Marc Etienne Graeco-Roman Egypt. Highlights include (The catalogue listing could have been made Title: HEKA: Magie et cover boy Bes panthée (cat. 140a) and many more useful by noting the current gallery loca- envoûtement dans l’Egypte other examples of Bes as a magical helper. tion of the objects within the Louvre!) Equally ancienne, Paris: Catalogue objects 250 -252 illustrate a love appreciated is the French point of view, which spell assemblage, complete with the text and the writer finds is not easily accessible to the Publisher: Les Dossiers du figure of the object of desire as a bound captive English speaking audience, apart from profes- Musée du Louvre pierced by (non destructive) needles. sional Egyptologists or those who visit the ISBN: 2-7118-4030-1 Representations of and evidence for of real-life Louvre in person. Price: 140FF (approx. £13.36p) magicians and priests was an intriguing con- AE

44 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 MissingMissing anan issue?issue? Whether you want to pass information to a friend or colleague, replace a lost issue or obtain one you’ve missed, it’s easy to order through our Back Issues Service. Hurry, stocks are limited!

LIMITED STOCK LIMITED STOCK LIMITED STOCK Volume 1. Issue 1. Volume 1. Issue 2. Volume 1. Issue 3. Volume 1. Issue 4. Cracking Codes: The Rosetta Undersea Cities. Egyptology King Djoser. Ancient Values Science v Archaeology. Stone. The Mummy on the Internet. Ramesses the Valley of the Kings Lesson of Bahareya. Detectives. Finding out about Great. Finding Pharaoh. Plumbing the Secrets of the Myth and Ritual in the Temple the Lost Tomb. Ancient Temples. Sphinx. of Horus at Edfu.

AUGUST/SEPTEMBER 2001 £2.95 ANCIENT EGYPT

THE HISTORY, PEOPLE AND CULTURE OF THE NILE VALLEY Interesting times for Neb Re: A Ramesside official tells his tale... Ancient instruments - We interview musician Doug Irvine

The moving history of Nubian burials

Our series: “9 Measures of Magic” continues NEWSNEWS, AND REVIEWS REVIEWS AND INTERVIEWSAND OUR PLUS SPECIALAND OUR TRAVEL SPECIAL SECTION TRAVEL SECTION Ancient Egypt Vol 2 Issue 2 AN UNFORGETTABLE TRIIP TO EGYPT WIN WIITH AWT -- SEE IINSIIDE FOR DETAIILS Volume 1. Issue 5. Volume 1. Issue 6. Volume 2. Issue 1. Volume 2. Issue 2. The Naming of Kings Cleopatra - Queen of Egypt. A Nine Measures of Magic. Neb Re: Uncovering the story A visit to the Egyptian profile of Amelia Edwards. Journey into the Egyptian of a Ramesside official. Museum in Berlin Mapping the world of the Underworld. An Interview with Egyptian Music: An interview “Heaven and Hell” at National Ancient Egyptians. Treasures the Director of the Luxor with Doug Irvine. The story of Museums of Scotland of the Pharaohs. Mummification Museum. Nubian burials NEVER MISS AN ISSUE AGAIN AND SUBSCRIBE... SEE PAGE 17 FOR MORE DETAILS

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NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 45 TRAVEL NEWS

TWA TRAVELLERS A news flash in from the Tour Egypt web site at the end of TRAVEL August advised that TWA would no longer offer flights to Egypt after the end of September 2001. Any passengers who had booked flights after that date would have travel arrange- THE LATEST NEWS AND ments made by TWA on other flights. The number to contact for further details is (800) 658 2150. Thanks to Jimmy Dunn of TourEgypt.net for providing this information.

RARE IMAGES GIFTED BY FRANCE The new library at Alexandria has received a gift of a num- ber of electronically created images from France. Included amongst them are rare historical documents showing the construction of the Suez Canal, microfilm images of maps and construction drawings of the cities of the canal and books on Port Said. The award has been made with the assistance of the Suez Canal Friends Association and the The new Library at Egyptian cultural office in Paris, and training was provided Alexandria will now house by the Association for a library secretary to become versed historic microfilm images in aspects of this unique documentation. For further details, (some never seen visit the web site at http://www.uk.sis.gov. before) of the construc- eg/online/html14/o250821m.htm tion of the Suez Canal.

MORE SUEZ NEWS The new Suez Canal Overhead Bridge will be opened offi- cially in October. The 3100m long bridge, which is 20m wide and crosses the canal 70m above the water, is the product of a joint Japanese/Egyptian project in which 60% of the total cost of 650 million was provided as a grant by the Japanese government. The whole project took three and a half years during which the construction teams worked 24 hours a day. The project will assist in 'opening up' Sinai and is only one of a number of such projects such as the Ismailia-Rafah line. Ismailia governor Major General Fuad Saad Eddin described the project as 'a symbol of co-opera- tion between Egypt and Japan'. It was expected that the opening would be witnessed by a number of vessels from all over the world.

GUARDING SHARM EL-SHEIK'S HERITAGE An article in an August 2001 edition of Al-Ahram describes the delights of diving holidays in the Red Sea and warns of the threat to the beautiful but fragile marine envi- ronment there. Jenny Jobbins describes the development along the coast there as 'unequalled in almost any resort anywhere'; 60,000 visitors a week are now hosted by the hotels and dive centres. While 'the dive centres and the Ras Muhammed National Park officials maintain the sites with deeply com- mendable care,' Jobbins warns that 'the fragile reef , though, is no match for the numbers.' If planning a diving holiday in Sharm El-Sheikh, the article contains invaluable information on coral reef 'eti- A scorpion fish, just one of the many quette'. Follow the instructions to ensure good diving and the species of delicate wildlife living on the continued safety of the coral reefs. fragile reef that holidaying divers in Sharm El-Sheik can see, but must be aware are protected.

46 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 TRAVEL NEWS

WEB SITE ADVICE NEWS Try out a couple of web sites if you're planning a trip to Egypt; the pages of egyptfocus.com are very easy to navi- gate, with useful maps and the advice is equally straightfor- STORIES FROM EGYPT... ward and useful, particularly for first time travellers. It's a similar story at the colourful pages of www.i- cias.com/m.s/egypt where honest, not to say frank, advice is available and there is a link to BABEL:arabic so that you can pick up the lingo, not to mention the Encyclopaedia of the Orient, although the pages of this seemed a lit- tle reluctant to appear. Check it out and tell AE travel pages what you think.

Canal traffic passes HURGHADA COMMENTS under the bridge There were some pithy comments on the massive while still under development at Hurghada in the latest issue of the construction. The newsletter of the Egypt Society of Bristol. The new Suez Canal Egyptian government has plans for 150 hotels and a overhead bridge marina, as reported in earlier issues of AE. With plans will be officially to expand tourism in Egypt from 1 million visitors per opened on October 6 and year to an astounding 12 million in 30 years time, the will connect the Egyptian mainland with the impact on Egypt's population and resources will become Sinai peninsula. a major issue. The newsletter points out the wish of the Egyptian Minister of Tourism for the proceeds of tourism to help Egypt's poor and needy, a central tenet of Islam which is applied most practically and not just theoretically. 'When will a "poverty levy" be placed on tourists, I wonder?' writes the author of the piece.

KHAFRE OPENS The pyramid of Khafre re-opened to tourists in July 2001. The Egyptian government has a policy of closing each of the three famous pyramids at Giza in turn to reduce the humidity problem created by the thousands of tourists visit- ing this most popular of Egyptian sites.

TRAVEL LATEST As AE went to press, world news was still dominated by The Giza Pyramids pictured here are Khufu, Khafre and events in the USA. The Egyptology community is an inter- Menkaure; each part of mortuary national one, and so professionals working in the subject complexes. Each pyramid had an were undoubtedly affected, personally and professionally. adjoining mortuary temple where How this might or might not alter travel is, at the time rituals for the dead king's spirit of writing, a complete uncertainty. and for the Egyptian gods may With regard to travel to Egypt, AE can have been carried out. This was only re-iterate the advice that has always been linked by a causeway to a valley given within these pages: Egypt represents a temple near the Nile floodplain safe and welcoming tourist destination for the that acted as an entrance to majority of the millions who go there; but the whole complex. The Giza maintain contact with your national consulate complexes also include pits for the latest news, and make sure that you are a for funerary boats, smaller regular visitor to the pages of Touregypt.net, the subsidiary pyramids and official site of Egyptian tourism, where you are numerous other tombs. sure to find the latest and most helpful advice on Presiding over the Giza Egyptian destinations. necropolis is the enigmatic Great Sphinx.

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 47 TRAVEL FEATURE LeidenLeidenTHE NATIONAL MUSEUM OF ANTIQUITIES has a new view of Egyptology

The National Museum of n the first ten years of its existence, the sculptures, mummies, pottery, jewellery, etc. Leiden Museum bought a number of pres- Visitor’s facilities such as a restaurant, a muse- Antiquities was founded tigious private collections of ancient art um shop, or a classroom for school groups were Iwhich earned its reputation as one of the lacking or below modern standards. in 1818 by King William foremost museums of antiquities in Europe. It had long been the Museum’s ambi- This is especially true of the museum’s tion to change all this, but we were dependant I. whose explicit wish Egyptian department, which ranks as one of the on the planning of the Office of Works and ten best collections in the world. On May 17th, were kept dangling on the waiting-list for that the new museum after five years of limited access, the Leiden years. Matters took a different course when the Museum has finally re-opened its doors on an museum (like all national collections in the was to compete with the attractive new display of its treasures. Netherlands) was privatised in 1995 and it was realised that a major building project was British Museum and the Taffeh Temple essential for the continued existence of the Those who have visited Leiden in the past will Museum of Antiquities as a flourishing institu- Louvre. He could not recall the charming situation of the Museum of tion. The first phase of the project consisted of Antiquities on the Rapenburg, said to be the a total restructuring of the building. have chosen a better most beautiful canal in the Netherlands. The museum is housed in a complex of brick build- Storyline director than Caspar ings dating to the early 19th century. With their When the temple of Taffeh arrived in the 1970’s, regular succession of sash-windows and the the former courtyard of the museum was already Reuvens to realise his ornamental sandstone gate they look attractive provided with an acoustic roof, thus becoming enough. Upon entering the building, however, the largest museum hall in the Netherlands. Now ambition, writes Dr one could not fail to notice the less attractive this former courtyard was opened both towards aspects of this situation. Most galleries were the surrounding galleries (where the new shop Maarten J Raven, long and narrow, and formed an illogical maze and restaurant, the toilets and wardrobes, and the of rooms full of unexpected corners and dead archaeological information centre have been Curator of Leiden’s ends, where visitors soon got lost. installed) and towards the street (allowing an Climate control was notoriously attractive view of the temple and some Egyptian world famous absent, with the consequence that both the vis- sculptures). Along the other exterior walls of the itors and the collection suffered from the building, an inner screen wall was erected, allow- Egyptology collection, effects of heat, cold, and drought. Although the ing proper climatisation of the interior and creat- entrance hall with the Egyptian temple of ing shop-windows along the street. who tells us about recent Taffeh was quite spectacular, the rest of the dis- The remaining inner courtyard of the play was antiquated, unsafe, and impractical. building was roofed over and integrated with the improvements there. There was no clear educational concept, but adjacent areas, resulting in spacious new gal- instead the bulk of the material was displayed leries for the permanent collections and two large in a rigorous and rather boring classification:

48 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 TRAVEL FEATURE

(RIJKSMUSEUM VAN OUDHEDEN) IN LEIDEN, THE NETHERLANDS

halls for temporary exhibitions. Similarly, the Middle Kingdom is linked with the Above: New presentation of The Egyptian department now occupies theme of technology, and the Late Period with mummies and coffins dating to a strategic position on the ground floor of the mummification. the Late and Graeco-Roman museum’s new wing, whereas before it was dis- This apprach enables the visitor to periods (7th cent. B.C. – 2nd persed over two floors. Just as for the Graeco- understand the gradual changes of Egyptian soci- cent. A.D. Roman, Near Eastern and Dutch departments ety, from an introspective culture focussed on the involved in the re-installation project, the display capital Memphis to an empire comprising vast is based on a clear storyline which aims to recre- areas in the Sudan or along the coasts of Asia, Below: Reconstruction of a liv- ate the archaeological context of each object. For and thereby becoming entangled in the politics of ing-room in an ancient the Egyptian collection, this has resulted in a Persia, Macedonia, and Rome. At the same time, Egyptian house dating to the mixture of a chronological and a thematic dis- the basic characteristics of this culture, such as its New Kingdom. play. dependence on the river Nile or Six successive periods are each intro- its peculiar religion, can be pre- duced by a key-figure who comments on the cul- sented in an attractive way. tural changes in general and on one specific Thus, a presentation of objects aspect of civilisation in particular. For instance, has given way to one of themes. the Leiden statue of a scribe is flanked by a wall- panel giving the basic facts about the Old Scale Models Kingdom and about the art of writing. The fol- A prominent part in the new lowing part of the display then shows a selection layout is played by the use of of objects dating to the Pyramid Age, and next to full-scale reconstructions, it there is a reading room where visitors can find using original objects placed out about hieroglyphs and other scripts. in a recreated context. For

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 49 TRAVEL FEATURE

HERE ARE SOME OF THE TREASURES YOU WILL FIND AT THE NATIONAL MUSEUM OF ANTIQUITIES IN LEIDEN

Right: Two legs of a funerary bed of one of the ‘black pharaohs’ in the shape of sphinxes with nubian heads. These pieces from one of the Right: Reconstructed cemeteries at Napata (8th-4th cent. head of Sensaos, a B.C.) could be acquired in 1999. girl who was mum- mified in 109 A.D. and whose mummy was scanned in 1997.

Below: Fragment of a statue of Senenmut, favourite official of Queen Hatshepsut (1473-1458 B.C.), with the head of her daughter Nofrure. This fragment could be acquired in 1997.

Left: The seated statue of Queen Hatshepsut consists of a torso belonging to the Leiden Museum and a head and lower half belonging to the Metropolitan Museum of Art. The three parts were re-united in 1998. instance, one of the museum’s Middle ed number of audiovisual elements and com- Kingdom coffins is combined with a puters helps to break the monotony of the pres- number of tomb statues, servant mod- entation. Thus there are moving images of the els, a canopic box, and a number of Nile and of the Museum’s excavations at pottery vessels to simulate a tomb- Saqqara, interactive programmes where visi- chamber of the period with sandy soil tors can find out about mummy research or and rock-cut walls. Other reconstruc- decipher hieroglyphic texts, and one can listen tions show an Egyptian living-room, to the autobiographies inscribed on the votive a mummification workshop, or an stelae from Abydos. All of this should help to animal catacomb. hold the attention of the numerous school Another means to illustrate the origi- groups who visit the museum, or to attract new nal setting of objects in the collection visitors who do not have the habit of coming to is the use of scale models depicting museums. pyramids, temples, tombs, or houses. During the five-year period of prepar- The architectural and geographical ing this display, we have made a special effort context of the exhibits is likewise to find out what the public wants by organising shown by the photographs and maps population research, setting up a number of of the wall-panels which introduce highly diverse temporary presentations moni- each sub-theme of the dis- tored by visitor surveys, and we even prepared play. a questionnaire based on a set of trial cases. Finally, a limit-

50 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 TRAVEL FEATURE

Above: New presentation of New Kingdom sculptures from Saqqara, with the three tomb statues of Maya and his wife Meryt. Maya was treasurer of King Tutankhamun. (1333-1323 B.C.) His tomb was relocated by an expedition of the Leiden Museum in 1986.

Recent Aquisitions al brought up from the reserves, such as a quar- Of course, we have not neglected the interests ry mark from the Meidum pyramid, relief frag- of our more scientifically-minded guests. The ments from the Labyrinth at Hawara, or finds “ well-known treasures of the Leiden Museum from the Museum’s excavations of a Meroitic Even regular such as the mastaba chapel, the New Kingdom village; and the results of modern research such sculptures from the tombs at Saqqara, or the as a model of the tomb of Maya or the recon- visitors to our fabulous collection of mummies and coffins structed head of a mummified Romano- can again be admired in a new and attractive Egyptian girl. collection marvel at the presentation. Thus the museum is ready to face Even regular visitors to our collection the new millennium. Together with an ambi- amount of unknown marvel at the amount of unknown material in tious programme of temporary exhibitions, the new display: recent acquisitions such as the we trust that the new display of the perma- head of a statue of Hatshepsut’s favourite nent collections will boost the annual number material in Senenmut, the wonderful bed legs from Napata, of visitors and ensure the Leiden Museum its or the panel of a canopic box showing a Roman place in society. For those who want to pre- the new display...” citizen between two ancient Egyptian gods; pare their visit (and for our virtual visitors) it recent restorations such as the statue of Queen is perhaps good to know you will find the Hatshepsut rebuilt from fragments belonging to museum has an attractive website the Leiden Museum and the Metropolitan (www.rmo.nl) where full information is given Museum of Art, the monumental bronze Osiris on its activities. figures, or the Coptic textiles; unknown materi- AE

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 51 REVIEWS RREVIEWEVIEW PPANEL

REVIEWS FROM THE ANCIENT EGYPT REVIEW TEAM

WIT AND HUMOUR IN others (especially foreigners), the royal family, THE REVIEW PANEL ANCIENT EGYPT swearing and bodily functions – yep, it’s all THIS ISSUE IS: there in the humour of Ancient Egypt. Let’s begin with the mild stuff. Miriam Bibby he cartoon-like humour of a surpris- Houlihan describes a ‘nursery rhyme’ problem Angela Dennett ing amount of Egyptian funerary art in the Rhind mathematical papyrus which Robert Partridge might come as a revelation to a new- involves ‘7 houses, 49 cats, 343 mice, 2401 Tcomer to Egyptology. Hieroglyphic ears of spelt and 16807 hekat of grain’ based on inscriptions, from the progression of 7x7x7x7x7. Does it remind the Old Kingdom you of anything? ‘As I was going to St Ives, I onwards, are some- met a man with seven wives; each wife had times the ancient seven sacks, each sack had seven cats, each cat world equivalent of had seven kits: kits, cats, sacks and wives – speech bubbles or how many going to St Ives?’ The answer is, of captions accompa- course, one. The old ones are the best. nying witty illustra- The knowledgeable reader will find tions. It might not many old ‘chestnuts’ in this book, such as the be much of a conso- story of the roaring hippopotami that woke the lation once you’re Delta king many miles away, the goose that is dead to be surround- taking an eternity to roast in the everlasting ed for eternity by stone of a tomb and the ‘twenty half-naked sexy scenes of side-split- young women, wearing only see-through fish- ting mirth, but hon- net dresses, rowing King Snofru’s pleasure estly, you’d die boat’ (nudge nudge, wink wink); a drunken laughing and it nanny neglects her charges who are running riot would help to take (you can’t get the staff). your mind off the There will probably be much that is cost of the funeral. new, however, such as the use of nicknames and Egyptian vivid, mocking descriptions, such as ‘Roy, humour ranges from dubbed the firebrand of the granary. He neither the bucolic to the budged nor sophisticated taking in all points in between, including Benny Hill and blue jokes and, as Carol Andrews once pointed out, frequently veers towards the Viz end of the humour scale. There’s nothing very alternative about it and nor is it by any stretch of the imagination, in modern parlance, politically correct. In fact it is often brutal with the physically infirm and Right: How the country folk lived: foreigners taking the brunt of the ‘jokes’. Sex, taken from the wall painting in the tomb chapel of Baket III at Beni foreigners, drunkenness, animals, work, boss- Hasan. es, the ‘class system’, the misfortunes of

52 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 REVIEWS

to be an ideal book for a relaxing read. The Egyptian Woman tells the story of Nebetiunet (Nebet), an upper middle class lady who is a weaver, seamstress and Chantress of Mut as well as a busy wife and mother. The book covers a year in Nebet’s llife and takes place during the early years of the reign of Ramesses II. She is Above: Defecating panic-stricken cats, resourceful married to Amenose youths and a mouse magistrate? Just the thing to (Ameny) who is secre- dip into when Egyptology gets a little too ordinary... tary to the Tjaty. Nebet and Ameny have six stirred since his birth.’ children, three girls, two Attention is spent, rightly, on the of whom are married, remarkable papyri in which a wealth of animals and three boys. There plays out the activities and pastimes of humans. are other family mem- Tongue-in-cheek mice get one over on the cats bers including an inter- (Tom and Jerry), a donkey lolls in comfort fering sister-in-law, and under a sun canopy on board a boat and a various servants, provid- mouse-god is carried along in solemn proces- ing a good mix of char- sion by four jackals. acters. The list of names After several thousand years it is still at the beginning came in easy to see the humour in these scenes and very handy for refer- texts, but there is a darker message; humour, for ence. the kings of Egypt, was not just a matter of The book having a giggle at the antics of a court jester chronicles the happy (although Houlihan suggests that dwarves, in and sad days of any fam- particular, performed this function). It was a ily. We follow the heart- potent weapon in their constant striving to get break of Mutemwiya, over the message of Egyptian superiority, part the eldest daughter who, of the overall armoury of magic, military after two years of mar- strength and economic control. riage, has not yet had a The book devotes its final section to baby, and Khaemwese the Turin ‘satirical-erotic’ papyrus, with illus- the youngest son, who is trations. Racy stuff. Don’t lend it to a maiden a trainee scribe but is possibly losing his sight. aunt. I lent it to mine and didn’t get it back! Each chapter covers a month and so the seasons are followed with accompanying MAB festivals. These are described in great detail and feel so real that it is easy to imagine sitting on Title: Wit and Humour in Ancient Egypt the riverbank watching the procession go by. Author: Patrick F Houlihan This is beautifully detailed fiction with Publisher: The Rubicon Press hundreds of authentic details which have been ISBN 0-948695-69-2 very well-researched. It didn’t occur to me once Price: £21.95 (Hardback) to question any statement, as it was all so cred- ible. The story flowed easily and had an ending THE EGYPTIAN WOMAN which cried out for a sequel, which one hopes will follow soon. hat does an Egyptomaniac AD read when he or she needs a Title: The Egyptian Woman little light relief from all the Author: Hilary Wilson text books? Chances are it Publisher: Michael O’Mara W ISBN 1-85479-800-6 will be a novel with an Egyptian theme, of Price: £14.99 (Hardback) which there are not too many. I found this

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 53 REVIEWS PANEL

THE SECRET HISTORY OF World and Electric Egypt. As one picture cap- ANCIENT EGYPT tion for the Great Pyramid clearly tells us ‘…new evidence suggests that it was a power he number of books published on plant used by the ancient Egyptian to generate Ancient Egyptian subjects never ceas- electricity’. The pyramid was designed, appar- es to amaze, although sometimes it is ently, to resonate like a tuning fork. The Queens Tdifficult to get hold of some of the bet- Chamber was a hydrogen generator, and the ter titles in bookshops, whose buying depart- corbelled niche there was equipped with a cool- ments tend to concentrate on the more popular ing tower…. I could go on, but I won’t. or sensational titles. It seems that ‘evidence’ is used very I have just received a copy of one such selectively (now there’s a surprise!). The author book to review; it is in bookshops and you may, completely ignores new discoveries such as the therefore, be tempted to buy it. workmen’s village and tombs at Giza, which The book has an eye-catching cover make it abundantly clear from textual evidence (always a good idea). The author tells us how that the inhabitants were involved in building his interest in ancient the tomb of the King, not a power plant. Egypt was originally The ‘mystery’ of how the Egyptian cut awakened by a friend who hard stones such as granite is examined in depth had written a best-selling and ignores recent and conclusive practical book Flying Saucers Have archaeological results by experts such as Denys Landed. Not the usual way Stocks, in Manchester. to come to the subject I Apparently the ancient Egyptians may must admit…but I suspect have made and used helicopters, submarines, you can see where this airships and aircraft, as shown in some carvings review is heading. The from Abydos. In fact one of the illustrations (of Bibliography included at some hieroglyphs, well carved, but slightly the back of The Secret damaged) to my untrained eye actually appears History is itself interesting, to show Thunderbird 2. But then I expect you where, surprisingly, Mark all know this already. Lehner’s title The I am sorry, but I just cannot take this Complete Pyramids of book seriously, and the really worrying thing is Egypt (an excellent book), that I suspect that there might actually be some stands out like a beacon readers who will happily part with their £16.99 amongst less credible and believe every word! Isn’t that a disturbing works like Atlantis thought? Enigma, Martian Genesis RP and Giza Power Plant. Title: The Secret History of Ancient Egypt I will admit this Author: Herbie Brennan book has been a struggle Publisher: Judy Piatkus (publishers) Ltd. for me to read - and those Price: £16.99 of you who know even a little about ancient Egypt will understand why. Information on pyramid measurements is given in abundance. Even the Egyptians were not consistent with their own unit of measure- ment, the cubit, so modern measurements and comparisons can be meaningless. Too many facts and figures can be both confusing and dif- ficult to dispute. We are told that a line drawn though the Great Pyramid will divide the earth into two hemispheres (I followed that!) com- prising of equal parts of water and land and another line can divide the land masses of our planet into two equal halves. I can’t dispute this, but I would be curious to see this confirmed by cartographers, and see how accurate the results actually are. I became a little more lost and con- Right: Herbie Brennan fused in the chapters Sonics in the Ancient

54 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 SOCIETY CONTACTS

There are Egyptology societies and groups all over the UK (and the world) offering a range of activities to interested SOCIETY CONTACTS amateurs. A contact list of societies is provided below. Victor Blunden of the long-established and highly successful Manchester Ancient Egypt Society (MAES) is willing to offer advice to any new groups starting out.

The Ancient Egypt & Middle East Society Friends of the Egypt Centre 26 St James Street Stafford. ST16 1PX Secretary: Mrs Sue Kirk Secretary: Vivienne Saunders Wetherby Tel: 01785 607949 2 Seathorne Crescent 6 Eversley Road Leeds. LS22 6RS Skegness Sketty Tel: 01937 580703 The Sudan Archaeological Research Lincolnshire. PE25 IRP Swansea. SA2 9DA [email protected] Society Tel: 01754 765341 Tel: 01792 208789 Chairman: Derek Welsby [email protected] The Northampton Ancient Egyptian C/o The British Museum The Friends of the Petrie Museum Historical Society Great Russell Street The Ancient World Society Secretary: Jan Picton Secretary: Revd. Douglas G Catt London. WC1B 3DG Chairman: Peter Mitchell Petrie Museum of Egyptian 195 Billing Road 99 Belmont Avenue Archaeology Northampton. NN1 5RS The Sussex College of Egyptology Sandbach University College London Tel: 01604 627710 Education Officer: Robert Scott Cheshire. CW11 1BT Gower Street 38 Bulkington Avenue Tel: 01270 764540 London. WC1E 6BT The Plymouth and District Worthing [email protected] [email protected] Egyptology Society West Sussex. BN14 7HY Secretary: Stevie Doidge Tel: 01903 202099 The Association for the Study of Institute for the Study of Underhill Farm [email protected] Travel in Egypt and the Near East Inter-disciplinary Sciences Tutwell Secretary: Dr Patricia Usick Secretary: Carole Keats Stoke Climsland Sussex Egyptology Society 32 Carlton Hill 10 the Greenway Callington Chairman: Janet Wilton London. NW8 0JY Enfield Cornwall. PL17 8LU Downsview Cottage Tel: 0207 328 2735 Middlesex. EN3 6TJ Tel: 01579 370309 Wappingthorn Farm Lane [email protected] Tel: 01992 719788 [email protected] Steyning 106662,[email protected] Sussex. BN44 3AG Durham Ancient Egypt Forum Poynton Egypt Group Tel: 01903 813203 Secretary : Barry Hetherington Leicestershire Ancient Egypt Society Secretary : Liz Sherman [email protected] 22 George Street Secretary: Mrs June Joyce 7 Craig Road Darlington 1 Ashmead Crescent Macclesfield Tameside Egypt Group Co. Durham Birstall Cheshire. SK11 7XN Secretary : Anne Marie Lancashire Tel: 01325 2823326 Leicester. LE4 4GS Tel: 01625 612641 152 Victoria Street Tel: 0116 267 5615 Poyntonegypt.fsnet.co.uk Newton The Egypt Exploration Society Hyde Secretary: Dr Patricia Spencer The Manchester Ancient Egypt Prestwich Egyptology Club Cheshire. SK14 4AS 3 Doughty Mews Society (MAES) Secretary: Mrs Florence Sokol Tel : 0161 366 6810 London. WC1N 2PG Secretary: Victor Blunden 27 Willingdon Drive [email protected] Tel: 020 7242 1880 12 Thornleigh Road Prestwich [email protected] Fallowfield Manchester. M25 1PA The Thames Valley Ancient Manchester. M14 7RD Tel: 0161 773 2886 Egypt Society The Egypt Exploration Society – Tel: 0161 225 0879 Secretary: Philip Wickens Northern Branch [email protected] The South Yorkshire Egyptology 467 Basingstoke Road Secretary: Prof. Rosalie David Society (Selket) Reading. RG2 0JG The Manchester Museum North East Manchester Egypt Adam Cadwell Tel: 0118 987 2878 The University Society (NEMES) 37 Windermere Court Oxford Road Chairman: Alan Fildes North Anston The Three Counties Ancient Manchester. M13 9PL 65 Kersal Road Nr Sheffield. S25 4GJ History Society Tel: 0161 275 2634 Prestwich Tel: 01909 563629 Secretary: Michael Farey Manchester. M25 9SN Box Farm House Egypt Society of Bristol Tel: 0161 773 2877 The Society for the Study of Birlingham Chairman: Dr Aidan Dodson [email protected] Ancient Egypt Nr Pershore c/o Department of Archaeology Secretary: Mrs Rhoda Payton Worcs.WR10 3AB University of Bristol The North East Lincolnshire 51 Park Road Tel: 01386 750223 43 Woodland Road Egyptology Association Boythorpe Bristol Chairman: Steve Johnson Chesterfield Wessex Ancient Egypt Society Tel: 0117 942 1957 109 Sanctuary Way Derbyshire. S40 2LP Chairman: Angela Dennett Grimsby Tel: 01246 276771 4 Maclean Road The Egyptian Society (UK) [email protected] [email protected] Bournemouth Secretary: Maggie Cooper Dorset. BH11 8EP Barn Cottage North Kent Egyptology Society The Southampton Ancient Tel: 01202 241973 Newtown (RAMASES) Egypt Society [email protected] Milborne Port Secretary: Mrs Anne Lloyd Secretary: Norman Pease Sherborne 32 St Margaret’s Drive Brambletye The West Cornwall Egyptian Dorset. DT9 5BJ Wigmore Whitenap Lane Society Tel: 01963 251638 Gillingham Romsey. SO51 5ST Secretary: Su Bayfield Kent. ME8 0NR Tel: 01794 516352 Treen Cottage Egyptology Scotland Tel: 01634 310579 [email protected] Zennor Secretary: F A Walker [email protected] St Ives 30 Athole Gardens Staffordshire Egyptology Society Cornwall. TR26 3DE Glasgow. G12 9BD North Yorkshire Ancient Egypt Group Secretary : Mrs Dawn Williams Tel: 01736 798514 Secretary: Jo Hirons 19 Clare Road [email protected]

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 55 EVENTS DIARY

OCTOBER

13th Ancient World Society. Trip to 27th Thames Valley Ancient Egypt 24th Sussex Egyptology Society. Dr London to visit Museum of Conservancy Society. Study Day: Sand & Chiffon: Penny Wilson, Hidden Secrets and Lost and John Soames Museum. Contact Peter Hollywood’s Vision of Ancient Egypt. Cities: The Rediscovery of Sais. Christmas Mitchell, 01270 764540. Contact Philip Wickens, 0118 987 2878. party follows. Contact Janet Wilton, 01903 813203. 13th Birkbeck College, London. Day 27th Sussex Egyptology Society. Jan School: Striking an attitude:Inter-personal Picton, Who were the Sea Peoples? 27th The Egyptian Society of South relationships in ancient Egypt and Nubia. Contact Janet Wilton, 01903 813203. Africa. AGM followed by Egyptian With Margaret Judd, Dr Bill Manley, Auction Sale. Contact Keith Grenville, Miriam Bibby and Maria Cannata. 31st North Yorkshire Ancient Egypt [email protected] Contact Lesley Hannigan, 0207 631 6631. Group. Adam Cadwell, Ushabtis. Contact Anne Murray, 01423 861604. 28th North Yorkshire Ancient Egypt 14th Thames Valley Ancient Egypt Group. Dr Penny Wilson, The Amarna Society. Paul Whelan, The New Kingdom NOVEMBER Iconoclasts. Contact Anne Murray, to Beginning of the Late Period. First of 01423 861604. 10 meetings. Contact Philip Wickens, 0118 987 2878. 3rd Wessex Ancient Egypt Society. John DECEMBER Davis, Who was the Pharaoh of the 17th Friends of the Egypt Centre, Exodus? Contact Angela Dennett, 01202 Swansea. Christina Riggs, The Art of 241973. 1st Egyptology Scotland. Dr Aidan Dying in Roman Egypt. Contact Sandra Dodson, Shelters for Eternity; Ancient Hawkins, 01792 553977. 5th Tameside Egypt Group. Ken Egyptian Coffins and Sarcophagi. Downs, Ramesses III. Contact Ken Contact the membership secretary, F A 18th Thames Valley Ancient Egypt Downs, 0161 367 7703 Walker, Egyptology Scotland, 30 Athole Society. Dr Aidan Dodson, Early Gardens, Glasgow, G12 9BD. Ancient Egypt. Contact Philip Wickens, 7th Ancient World Society. The Temples 0118 987 2878. of Karnak and Luxor. Contact Peter 1st Thames Valley Ancient Egypt Mitchell, 01270 764540. Society. Quiz and social. Contact Philip 19th Poynton Egypt Group. Paolo Wickens, 0118 987 2878. Scremin, Photography – Old Kingdom. 12th Manchester Ancient Egypt Society. Contact Liz Sherman, 01625 612641. Patricia Winker, The History and 1st Wessex Ancient Egypt Society. Dr Collection of the Institute of Archaeology, Alix Wilkinson, The Garden in Ancient 20th Ancient Egypt and Middle East Liverpool. Contact Victor Blunden, 0161 Egypt. Contact Angela Dennett, 01202 Society. Caroline Simpson, Subject TBA. 225 0879. 241973. Contact Sue Kirk, 01754 765341. 14th Bristol Museum. Dr Jeffrey 3rd Tameside Egypt Group. Christmas 20th Leicestershire Ancient Egypt Spencer, Preparing for immortality: the meeting, with talk by Alan Fildes. Contact Society. Carol Andrews, The Ancient ancient Egyptian attitude to death. Ken Downs, 0161 367 7703 Egyptian Sense of Humour. Contact June Contact Bristol Magpies via Bristol City Joyce, 0116 267 5615. Museum and Art Gallery, 0117 922 3571. 5th Ancient World Society. Pharaoh Tutankhamun. Contact Peter Mitchell, 20th Manchester Ancient Egypt Society. 17th Leicestershire Ancient Egypt 01270 764540. Day School. The Amarna Period. Contact Society. Peter Phillips, The Columns of Victor Blunden, 0161 225 0879. Egypt. Contact June Joyce, 0116 267 5615. 5th Friends of the Egypt Centre, Swansea. Peter Reason, Art in the 20th – 21st Seven Wonders Travel in 17th Thames Valley Ancient Egypt Ramesside Period. Contact Sandra conjunction with The Bloomsbury Society. Tba. Contact Philip Wickens, Hawkins, 01792 553977. Academy and Bloomsbury Theatre 0118 987 2878. hosts The 3rd Annual Egypt Revealed 8th Ancient Egypt and Middle East Symposium: Reports from the Field 2001. 20th Egypt Society of Bristol. Fiona Society. Christmas Lectures & Dinner Speakers include Dr Zahi Hawass, Dr Simpson, Libyans in Ancient Egypt. with lecture by Lucia Gahlin. Contact Sue Mark Lehner, Dr Kent Weeks and Dr Contact Dr Aidan Dodson, 0117 942 1957. Kirk, 01754 765341. Salima Ikram. Contact the Director, The Bloomsbury Academy, Department of 21st Three Counties Ancient History 10th Manchester Ancient Egypt Society. History, University College London, Society. Tba. Contact Michael Farey, Khalid Daoud, Liverpool Excavations at Gower Street, London, WC1E 6BT. 01386 750223. Saqqara: the Kairer Mastaba. Contact 23rd The Egyptian Society of South Victor Blunden, 0161 225 0879. Africa. Fr. Roderick Walsh, A Journey 23rd Poynton Egypt Group. Judith through Coptic Egypt. Contact Keith Corbelli, Alexandria the City. Contact Liz 11th Egypt Society of Bristol. David Grenville, [email protected] Sherman, 01625 612641. Singleton, An Investigation of Two 21st

56 ANCIENT EGYPT NOVEMBER/DECEMBER 2001 EEVENTSVENTSDDIARYIARY

Dynasty Painted Coffin Lids (BM EA EXHIBITIONS: 24792 & EA35287) for Evidence of Materials and Workshop Practices. Contact Dr Aidan Dodson, 0117 942 1957. Now extended until January 2002. th 13 Three Counties Ancient History The Burrell Collection in Glasgow, Pollok Society. Lecture and Christmas social. Country Park, Pollokshaws, Glasgow Tel: +44 Contact Michael Farey, 01386 750223. (0) 141 287 2550 Ancient Egypt: Digging for Dreams An interactive exhibition featuring 15th Leicestershire Ancient Egypt Society. AGM & Christmas Social. exhibits from the Petrie Museum. Contact June Joyce, 0116 267 5615. 23 November 2001 until 24 February 2002 17th – 18th University of Birmingham, The Brooklyn Museum of Art, New York, USA. Department of Ancient History and Web site: www.brooklynart.org Eternal Archaeology.. Current Research in Egypt: Masterworks of Ancient Art from Egyptology III symposium for graduates the British Museum. An opportunity to view in the British Isles. Contact Nina more than 140 masterpieces from the BM's Wahlberg, Rachel Ives, Roberto Gozzoli or extensive collection of Egyptian art. Dan Lines on [email protected] or write to Current Research in Egyptology 8 November 2001 until 24 March 2002 III, Department of Ancient History and Archaeology, University of Birmingham, The British Museum, London, UK. Tel: +44 Birmingham B15 2TT. (0)20 7323 8000. Agatha Christie and Archaeology:Mystery in Mesopotamia. JANUARY 2002 An exhibition celebrating mystery writer Agatha Christie's contribution to archaeology. Includes costumes from Death on the Nile and 5th Wessex Ancient Egypt Society. Prof. other Egyptian artefacts. Joan Rees, Amelia Edwards: Egyptologist and Novelist. Contact Angela Dennett, 01202 241973. Deadline for submission 9th Ancient World Society. Abu Simbel. All events entries should be received one Contact Peter Phillips, 01270 764540. month prior to publication for inclusion in the next issue 15th Egypt Society of Bristol. Serena Love, Memphis: Searching for the Old Kingdom Capital. Contact Dr Aidan Dodson, 0117 942 1957. Please Note 18th Poynton Egypt Group. George Hart, Ancient Egypt and the Greek World. It is always advisable to check with the Contact Liz Sherman, 01625 612641. show organisers before attending an 19th Leicestershire Ancient Egypt event in case some of the details have Society. Caroline Simpson, Robert Hay’s been changed prior to publication. If Panoramas of Thebes/Qurna. Contact you wish to add an event to the Ancient June Joyce, 0116 267 5615. Egypt Events Diary please contact the 21st University of Bristol. Amelia Editor, Miriam Bibby at: Edwards Lecture. Dr Penny Wilson, The Ancient, the Old and the Imported: recent Ancient Egypt Events Diary work at Sais. Contact University of 70 High Street Bristol, 0117 928 9000. Langholm Dumfriesshire 26th Sussex Egyptology Society. Julie DG13 0JH Hankey, Arthur Weigall: the Amazing Life of My Grandfather. Contact Janet Wilton, Tel: 013873 81712 or 01903 813203. 0879 167 4421

30th North Yorkshire Ancient Egypt Email: [email protected] Group. Anne Murray, The Valley of the Golden Mummies. Contact Anne Murray, 01423 861604.

NOVEMBER/DECEMBER 2001 ANCIENT EGYPT 5757 NNETFISHINGETFISHING

AANCIENTNCIENT EEGYPTGYPT EXPLORES EXPLORES THE THE WWORLDORLD WWIDEIDE WWEBEB......

ast issue you were promised more .andrew.cmu.edu/~shawn/egypt/gods.html and about the gods and goddesses of www.osirisweb.com/egypt/diector.htm and it’s ancient Egypt. A quick search using always worth checking the comprehensive Lone of the best engines available - history, culture and religion pages on Google - brought in quick results of over www.touregypt.net 17,000 pages. There are numerous summaries One thing to watch for is that a num- and lists of the deities of Egypt, provided by ber of the personal sites have an eclectic both amateur Egyptologists and academic approach to religion, happily mixing main- institutions. It’s worth having a look at a num- stream Egyptological approaches with refer- ber of these since they tend to take slightly ences to lesser Egyptological lights (although different approaches and often provide notorious in other fields) such as Aleister diverse information on the same deity. One Crowley. One such site (www.tir.com/~laneta/ general grumble that comes from surfing is kristi2.html), for instance, refers to the deity that few sites provide follow-up references. Heru-ra-ha as ‘a composite deity in Crowley's Museum sites are often a good starting quasi-Egyptian mythology, composed of Ra- point and this proved to be the case with the Hoor-Khuit and Hoor-per-Kraat. Apparently Royal Ontario Museum (ROM) on without basis in historical Egyptian mytholo- www.rom.on.ca/egypt/case/about/gods.html gy, but the name translated into Egyptian, This has a brief but useful introduction to con- means something approximating “Horus and cepts behind divinities in Egypt as well as a Re be praised”.’ quite concise and detailed list. The descriptions ‘What is a fruity pharaoh?’ was the dis- of the divinities are well-written with insight tracting question posed by a Chihuahua in and sensitivity. With regard to Hathor in cow Nemes headdress at www.neferchichi.com/ form, for example: ‘A herd of cattle was a index.html Fortunately, the site also gave a beautiful sight because it repre- quotable response: ‘That depends on who you sented wealth in the form of ask. To the kids, a fruity pharaoh is a recently- food, milk, hides and work, deceased king that has been properly mummified as oxen pulled the ploughs to ensure an eternal afterlife. To people with less of farmers. Cattle dung active imaginations, it's a potato-headed orange was a valuable fertiliser that has been preserved by drying.’ and had many uses in To discover how to make building. The Egyptians your own fruity pharaoh, should you admired many qualities in be so inclined, visit the site. You cows, besides their will need a potato, orange, plastic economic benefits. box and various other implements The cow’s careful (here's one I prepared earlier). And a tending of her calf vivid imagination. The site also was a model for offers quite a lot of information motherhood.’ on the deities of Egypt Be your own Anubis, The Metropolitan Museum in New including a range of clip-art mummify an apple, or York also provides excellent pages on the especially suitable for maybe an orange. Go deities, with good links and it’s easy to flow school students. Plus on, you know you want around the Museum's site. This can be found your opportunity to to... on www.metmuseum.org/explore/newegypt/ buy 18 flexible rubber htm/ls_gods.htm magnets to decorate your Other general sites with listings of appliances. Egyptian deities include www.contrib HAPY

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